200 ESSAYS IN NATIONAL IDEALISM.

half-truths, and sometimes obscure the deeper fact that
all art has a fundamental unity. But, accepting the
distinction as a temporary convenience, it maybe remarked
that, in spite of the neglect of Indian art-music in recent
times, the folk-music of the people is still everywhere to be
heard, and it is only in a living relation to this that a
national school of music can be preserved. The attempt
to denationalise Indian music by learning European music
instead is the sure way to an extinction of the musical
faculty, comparable to that which took place in England
after the time of Charles I. This decadence coincided
with the day when no gentleman's education was
considered complete until he had made the ' grand tour'
on the Continent—and returned from it to turn up his
nose, as the Rev. S. Baring Gould remarks, at his old
English Manor house, and to call in Italian architects to
tear it down and substitute for it a Florentine Palazzo.
This is what English-educated and ' England-returned'
Indians are doing in India to-day.

As a matter of fact, 110 School of Music has arisen
and flourished in Modern Europe that has not been founded
on national folk-music, and been concerned with the
expression of national aspirations and ideals. Russia may
be taken as an example. The founder of the Russian
School was Glinka (1803-1857) who was called by Liszt
the ' Prophet-Patriarch ' of Russian music. He grew up
steeped in the folk-music of his own country and early in
life, conceived the idea of composing a national opera-
This ambition he eventually satisfied in i The Life of the
Tsar' (1836), an opera which marked an epoch in the
musical history of Russia. As Mrs. Newmarch has said:*

* Grove's Mus, Diet, Ed. IIn 180-188.