THE PART AND THE WHOLE

tecture but by exf oUation ; the phrase is not tbe arithmetical sum ol the notes; each note is a facet, rather than a fragment, ol the whole phrase, and takes its qoality and coloor not sin^rfy in relation to the other notes, but in relation to the phrase as a whole. The phrase is continuous through ail the notes ; check it at any point, and there wiU be in the mind the sensé of pressure, as of something coming on, some gathered momentum not only of sound but of significance, Alter a single note, or even the length of a rest, and you will " spoU it ail " ; and the '' spoiling " wiU not be as if a square bead intruded upon a string of round be^, or as if a discordant colour were placed in a graduated séries of colours, but as if a meaning had been completdy changed or altogether lost. The whole phrase is one movement, and the notes are not so much parts of it as they are moments in it. Until the last note has died away the full significance of the phrase is not apparent, yet the whole phrase as a whole was in the first and in each succesâve note.

If one asks why it is that from a fertiKzed cell a body of one particular shape and structure rather than another anses, the only satisfactory answer is that the whole body is there from the beginning and itself détermines the character of each fission and of each arrangement of cells. A body is not f ormed after the manner of some fluid materiai which is poured into a mould, or of some plastic substance which receives shape