210 s ESSAYS IN NATIONAL IDEALISM.

servant does not become hi& master. TKat is to say, a discrimi-
nation must be made between the legitimate and illegitimate-
functions of machinery in industry. I do wot propose to-
speak further of this part of the subject here ; but this
much at least is clear, that the multiplication of unskilled
labour which results from the complete subordination of
the craftsman to the machine is injurious to the national
quality. Oeteris pa/ribus, a handicraft is always preferable-
to a mechanical industry.

The immediate object of this paper, however, is
briefly to treat of the relation of mechanism to art, as
typified iu the relation of the gramophone to music.

Whatever the relation of mechanism to industry, it-
should be self-evident that it can have no real relation to<
art. The non-relation of mechanism to art will need no-
proof to the man who, in Plato's words, " hath here been
educated as he ought and perceives in the quickest manner
whatever workmanship is defective, and whatever execution
is- unhandsome." It is significant, moreover, that it was,
through education in music that Plato would have attained
this very end, that one should, while still young and
" before he ix able to understand reason," instinctively
know what is to be praised and received into the soul, and
what is to be despised and rejected. This is the highest
understanding, to know without reasoning what is worthy
or unworthy. For those who have this understanding,,
" reasonable proof" is superfluous, and at the same time
difficult.

Let us, however, consider the gramophone. It
provides, you say, innocent entertainment for alL It
will be found that this statement needs considerable
qualification. In the first place, to a, person of culture—
especially nwsical Culture—the sound of a gramophone is