hen they
wish to indulge in criticism; but it is of no interest at all to
know whether Mr. So-and-so likes, or does not like, such-and-such
dramatic or musical work."[139]

So writes M. Vincent d'Indy.

After such an expression of opinion one imagines that a critic ought to
feel some embarrassment in writing about M. Vincent d'Indy. And I myself
ought to be the more concerned in the matter, for in the number of the
review where the above was written the only other opinions expressed
with equal conviction belonged to the author of this book. There is only
one thing to be done--to copy M. d'Indy's example; for that forsworn
enemy of criticism is himself a keen critic.

[Footnote 139: _Revue d'Art dramatique_, 5 February, 1899.]

It is not altogether on M. d'Indy's musical gifts that I want to dwell.
It is known that in Europe to-day he is one of the masters of dramatic
musical expression, of orchestral colouring, and of the science of
style. But that is not the end of his attainments; he has artistic
originality, which springs from something deeper still. When an artist
has some worth, you will find it not only in his work but in his being.
So we will endeavour to explore M. d'Indy's being.

M. d'Indy's personality is not a mysterious one. On the contrary, it is
open and clear as daylight; and we see this in his musical work, in his
artistic activities, and in his writings. To his own writings we may
apply the exception of his rule about criticism in favour of a small
number of men whose thoughts are interesting even when they are
erroneous. It would be a pity indeed not to know M. d'Indy's
thoughts--even the erroneous ones; for they let us catch a glimpse, not
only of the ideas of an eminent artist, but of certain surprising
characteristics of the thought of our time. M. d'Indy has closely
studied the history of his art; but the chief interest of his writings
lies rather in their unconscious expression of the spirit of modern art
than in what they tell us about the past.

M. d'Indy is not a man hedged in by the boundaries of his art; his mind
is open and well fertilised. Musicians nowadays are no longer entirely
absorbed in their notes, but let their minds go out to other interests.
And it is not one of the least interesting phenomena of French music
to-day that gives us these learned and thoughtful composers, who are
conscious of what they create, and bring to their art a keen critical
faculty, lik