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164 them. Not by irony and sarcasm, but by jeers and grimaces does Jazz mark its antipathies. Irony and wit are for the grown-ups. Jazz dislikes them as much as it dislikes nobility and beauty. They are the products of the cultivated intellect and Jazz cannot away with intellect or culture Nobility, beauty, and intellectual subtlety are alike ruled out.

" And, of course, it was delightful for those who sat drinking their cocktails and listening to nigger-bands, to be told that, besides being the jolliest people on earth, they were the most sensitive and critically gifted They were the possessors of natural, uncorrupted taste Their instinct might be trusted: so, no more classical concerts and music lessons.

"The encouragement given to fatuous ignorance to swell with admiration of its own incompetence is perhaps what has turned most violently so many intelligent and sensitive people against Jazz. They see that it encourages thousands of the stupid and vulgar to fancy that they can understand art, and hundreds of the conceited to imagine that they can create it"

It is understood that Mr Bell is discussing the whole of the jazz movement, not ragtime music alone. I do not wish to go, into the other arts, except to say that if he is jazz, then Mr Joyce's sense of form, his tremendous intellectual grasp of his aesthetic problem, and his solution of that problem, are far more proof than is required of the case for jazz. Similarly for Mr Eliot. It is not exactly horror of the noble that underlies Mr Joyce's travesty of English prose style, nor is it to Mr Eliot that the reproach about irony and wit is to be made. In music it is of course not impudence, but emphasis (distortion or transposition of emphasis) which finds its technical equivalent in syncopation, for syncopation is a method of rendering an emotion, not an emotion in itself. (Listen to Strawinsky.) Surprise, yes; but in the jazz of Lewis and not in that of Whiteman which does not jeer or grimace, which has wit, and structure, i. e., employs the intellect. Nobility—no. But under what compulsion are we always to be noble? The cocktail drinkers may have been told a lot of nonsense about their position as arbiters of the arts; precisely the same nonsense is taught in our schools and preached by belated aesthetes to people whose claims are not a whit better—