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THE GOD WHO MADE HIMSELF 
 
 .V STORY FOR CHILDREN WHO LIKE MUSIC 
 
 WITH NOTES (voii gkown-ips) 
 
 SYLLABI'S of A PSYCHOLOGY of MUSIC 
 
 1*Y 
 
 George Edwards 
 
 I'l.'K ! 
 
 Kac'ii r 
 COMPLETK, in M»VANCKiOXK DOLLAR. 
 
 OSWALD C. < Ol I MA \ 
 »A!V Dl U.fPOKMA 
 

 OSWALD C. COFFMAN 
 
 MUSIC PUBLISHER 
 
 SAN DIEGO. CALIFORNIA 
 
 Dear Friend: 
 
 "The purpose of my experiment," Mr. Edwards tells us, 
 "is to present to everyone — children as well as grown-ups — a bird's eye 
 view of the essential facts of musical evolution. Also to stimulate 
 musicians to familiarize themselves with the standard literature not 
 only of their own art, but that of sociology and psychology generally, 
 with which art is so closely associated. " The synthetic method employ- 
 ed was suggested by Professor Dewey's article THE INTERPRETATION OF 
 SAVAGE MIND, ("Psychological Review", Vol. IX, No. 3.) and the fairy- 
 tale style, by the compact and entertaining manner of James Stephens' 
 CROCK OF GOLD. 
 
 We enclose herewith the first installment of the "experiment", of 
 which we think you will approve. For we believe you are among those 
 who are interested in improving the present educational methods, by 
 bringing them into closer relation with life. Should the enclosed 
 appeal to you, your subscription to the whole will be greatly appre- 
 ciated. 
 
 Yours very truly, 
 
 Oswald C. Coffman, 
 
 Publisher. 
 
-3 a 
 
 to ssoqiJjq sriT*- 
 
 
 
 
 
 
 
THE GOD WHO MADE HIMSELF 
 
 L THE GOD WHO DID NOT EXIST 
 II. HOW THE GOD WAS BORN 
 
 III. HIS RELATIVES 
 
 IV. HOW HE CLOTHED HIMSELF 
 V. HOW HE LEARNED TO WRITE 
 
 VI. HOW THE GOD AMUSED HIMSELF 
 VII. ADOLESCENCE 
 VIII. MARRIAGE 
 
 IX. DIVORCE 
 
 X. THE GOD'S PHILOSOPHY 
 
 XI. THE SOCIAL REVOLUTIONIST 
 
 To be issued serially. Cover, 10 cents. Each part, 10 cents. 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 OSWALD C. COFFMAN. 
 
 SAN DIEGO. CALIFORNIA. 
 

 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 1 
 
 THE GOD WHO DID NOT EXIST 
 
 1. There was once a god who did not exist. By this I mean that all his parts were so widely 
 scattered that no one knew (much less himself) that they belonged together. 
 
 2. Now there were no people on the earth in those days— only animals and plants. For before 
 there can be people there must be a god to make them. Every child knows this whose parents have sent 
 him to Sunday School. But how a god could make himself, or, "Who began the beginner?" is a question 
 all sensible children have frequently asked. And, so far as I know, no one before has ever been able to 
 answer them. 
 
 3. As I have said, the god did not yet exist for the reason that all his parts were so widely 
 scattered. But all the parts that were even then in existence were not sufficient to make a grown-up god. 
 And so the difficulty which faced him was two-fold : 
 
 a. How he should come together and be at least a baby god. 
 
 b. What to do in order to become a grown-up. 
 
 4. Of course he could not take the second step until he had accomplished the first, and he could 
 not take the first for the reason that he did not exist ; and so he could do nothing to make himself a god at 
 all until some fortunate accident should bring together all his scattered parts in such a way that anyone 
 could see (including himself) that here at least were the makings of a god. 
 
 5. What made his task especially difficult was that all the bones which were to make up his 
 skeleton were not such as you could see or touch, but only hear. In the tread of running animals were 
 some of his bones: tahtay, tahtay, tahtay, etc.; in the peaceful breathing of their babies, there were 
 others : taa-aah, taa-aah, etc.; but in the beating of their hearts was the true beginning of his life : taah, 
 taah, taah, etc. Beating, beating, beating, — that is what his heart would be doing always— when he 
 should live. By the beating of his heart would all his other actions be determined. 
 
 6. But plain as all these were, no one knew — not even the god himself (for he did not exist) 
 — that they were bones. 
 
 7. Neither was his flesh a thing for any sense but hearing. For its substance lay in the songs 
 oLthe birds, in the hum of the bees, and in the roar of the cataracts. (Also in the moaning of the wind 
 among the trees, as it rose and fell in sliding scales, but this he did not notice until he was quite grown up.) 
 
 8. Wherever a waterfall thundered many tones were present, and these all blended together 
 harmoniously and formed a chord : doh, me, soh. If the stream was very large the chord produced by 
 the waterfall sounded low. If very small the chord sounded higher. 
 
 9. Likewise, wherever there was a very shrill sound, like the whistling of the wind in a high 
 gale, many lower tones were present beside the main one, and these too, blending together, formed a chord 
 sometimes high and sometimes lower : doh, may, soh. 
 
 10. But while the deep tones of the waterfalls sounded grand and hearty, the shrill tone 
 always produced a sad and weird effect. 
 
 Copyright. 1916, by George Edwards. 
 
"Beneath the swaying pine-tree, 
 
 That the fitful wind goes through, 
 I gaze on the widening landscape, 
 That fades in far-off blue. 
 
 And like low music playing 
 Above in the organ loft, 
 The wind in the pine-tree moving 
 Makes music strange and soft. 
 
 For the trees have all their voices 
 Of light or earnest tone; 
 
 The aspen — elfin laughter, 
 The oak — a Titan's moan." 
 —F. W. Bourdillon. 
 
 11. Now the birds and insects had lived all their lives among the moaning trees, and beside 
 the waterfalls. So whenever they sang, they used for the most part the tones of the chord belonging to 
 some waterfall. Even the spiders in calling to their mates adopted the mournful tones of the chord be- 
 longing to a shrill wind. Thus all the tunes they sang were those to which you could apply the sylla- 
 bles doh,me, soh, or doh, may, soh. 
 
 12. These were the god's flesh and blood. And these were the materials of his heart. But as 
 yet it did not beat ; it only slept. 
 
 13. There were other things, too, which went to make up the baby god, but always were they 
 sensible to the ear alone, never to the eye or any other organ. Strength and weakness were to qualify 
 his being, as sometimes a wind is loud, sometimes soft. 
 
 14. And the colors which he would take on were already in existence. For instance, no one 
 ever mistook the sound of running brooks for bees, nor the whirr of humming birds for purring cats — 
 however they might be alike in strength and pitch. 
 
 15. These, then, were the parts which were to form the god. But how he should bring them 
 together he did not know. Indeed, it is probable he did not want them all to come together, for at the 
 time of which I write, and for a long time afterwards, in fact, until a certain very fortunate accident 
 occurred of which I mean to tell you, he did not even exist. 
 
NOTES. 
 
 (FOR GROWN UPS.) 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 The Psychology of Music has not as yet been written. 
 
 Here and there, it is true, in the works of all the great writers on music are valuable hints, convincing examples, of the power 
 of music over the emotions, and the influence of human emotion upon the form of music. But so far has appeared no systematic 
 attempt to organize these subtle and scattered fragments into a consistent whole, such as may be utilized by students and teachers 
 of music to explain their feelings about the art to which they have devoted their lives. 
 
 Perhaps it should not be written, but only suggested, leaving room for people's creative imagination and original observation 
 to fill up the outline, or vary it, to suit themselves. 
 
 The most recent development in psychology is fortunately a development in the direction of simplicity. It is called the 
 "behavior method" and is based on observation rather than upon introspection. For introspection (the method peculiar to previous 
 systems) changes the nature of the very things to be observed (mental processes). It is a common fact that people as a rule are 
 less capable of naming and judging their own motives than are others who observe them. The behavior method of psychology is 
 based on the following propositions : 
 
 a. Action is the primary category of all life. And since the beginnings of life are groupal, all that has been done in Social 
 Psychology is helpful at this point. 
 
 b. What has been called feeling (pleasure-pain phenomena) is inhibited, snubbed, thwarted action. Feeling is attitude. 
 
 c. Thot is action transformed from the instinctive to the directive or selective field. (See Professor John Dewey's article on 
 The Reflex Arc Concept in "The Psychological Review", Vol. Ill, No. 4.) His theory is, briefly: that action is not simply reacticn to 
 stimulus, but stimuli are in some measure invariably selected. In other words, we see only when we look ; we hear only when we listen. 
 
 The syllabus follows as nearly as possible the method of Prof. H. Heath Bawden's (author The Principles of Pragmatism, 
 Houghton, Mifflin & Co.) course in Psychology held at San Ysidro, California, April 1914 to June 1915. And the author takes the 
 present opportunity of acknowledging the value of the former's various courses in his own development. 
 
 The salient facts of a psychology of music are included in the little story to which the following notes are a sort of commen- 
 tary. Musical examples have been purposely omitted owing to the expense of engraving musical texts. In the notes, however, 
 standard references are given for teaching material. Should sufficient demand arise from publishing the above, a series of sheets 
 will be issued gathering together in convenient order specific materials for teaching purposes, complementing and corresponding to 
 the various installments of the story. 
 
 5.* For an explanation of the time-names of M. Aimee Paris, see The Rythmic Cradus, Grade 1, p. 13. (Bosworth & Co.) 
 These are equal in importance in the teaching of time, to the Tonic Sol-fa syllables in the teaching of pitch. And just as the 
 latter develop the unconscious feeling for relative pitch by associating all other tones with "doh", so do the time-names emphasize 
 the universal time-standard in music, — the beat. The conventional method of printing music unfortunately gives a confused and 
 imperfect record of both. See Analysis of the Evolution of Musical Form, by Margaret H. Glyn, (Bosworth & Co.) pp. 16 and 28. 
 Bach is said to have adopted the beating of his heart for the standard of speed, to be represented by quarter-notes. Some 
 such fact is probably the origin of the speed-term "beat." But it should be remembered that the "speed" of a movement refers not 
 to the speed of notes, but to the speed of the beats. 
 
 7. "Pitch-waves" in music, imaging the rise and fall of emotion, tho suggested by the Greek, Aristoxenus, in his theory of 
 Harmony, were first recognized as a constant factor of musical effect by M. H. Glyn. See The Rythmic Conception of Music, Ch. VII. 
 
 8, 9. For an explanation of the harmonic major and minor "scales of nature," see Riemann's Harmony Simplified, pp. 2-3 ; 
 or Vincent d'Indy : Cours de Composition Musicale, pp. 94-101. 
 
 In this connection children should be drilled in exercises based on the chords "doh, me, soh," and "doh, may, soh," in various 
 keys. It is only fair to children that early training in position, tone-quality, and speed, should be based on these simple three-toned 
 formulae rather than on the highly complicated diatonic scales. 
 
 11. For specific examples of bird-songs see Gardiner's Music of Nature, pp. 222 232 ; and for the melodic consonance of 
 insects, p. 247. These examples are suggested not merely as curiosities, but for practical use as tiny "pieces" for the children to play 
 as soon as they have learned the chords "sung by the waterfalls and by the high winds". 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XL 
 
 Tob 
 
 THE SOCIAL REVOLUTIONIST 
 
 I issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN, 
 
 
 SAN DIEGO. CALIFORNIA. 
 
THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 II. 
 
 HOW THE GOD WAS BORN. 
 
 16. Among the many animals who lived with the birds in the depths of the forest, and beside 
 the waterfalls, were some who had come to stand upright—on their "behime legs", as Uncle Remus says. 
 And once their front legs were free from the ground they ceased to use them for walking. By grasping 
 sticks and branches, gradually their thumbs became separated from their other fingers— and all at once 
 they found that they had hands! These gave them an advantage over all the other animals, for in their 
 upright position they could see further than those who were still on all fours. And whenever they wish- 
 ed to deprive their neighbors of something the latter were using (or whenever the others would take some- 
 thing they were not using), with their hands they grasped great sticks to beat them with, or picked up 
 cocoanuts and boulders to throw at them. Tho, of course, among themselves they always shared every- 
 thing, and made up for the weakness of some by giving them every possible assistance. 
 
 17. One day these strange new creatures (who were standing upright) found that the sticks 
 lay very comfortably within their hands. And because it gave them pleasure, they began rubbing them 
 together in a rythmical manner, similar to the movement of their legs in walking, and to the beating of 
 their hearts. Now it happened that the sticks were very dry (for it was before the rainy season), and 
 suddenly a bright light flew off and danced a moment in the air. This they thot was very pretty, tho at 
 first they were a little frightened at it, (for they were always afraid of everything); and they kept up the 
 rubbing of the sticks until at last one of the little sparks fell amidst some dry grass and set it afire. Im- 
 mediately the fire spread, until the animals were forced to run for their lives. And when they returned 
 in the trail of the conflagration, they found many dead animals, of kinds which could not run so fast as 
 they; whose flesh tasted particularly pleasant when they ate of it, for it had been thoroly cooked. There- 
 after the more courageous of them continued to invoke the fire whenever they desired to eat of the cook- 
 ed flesh of their unfortunate neighbors. 
 
 18. Before the fire would come, however, they were forced to rub the sticks a very long time ; 
 and it was much easier and pleasanter to rub them regularly, in the manner in which they always walked 
 and ran. Very soon they began making noises with their mouths to accompany the rythmic movement 
 of the sticks, calling on the fire to come and terrify them. For, (tho they were always afraid of every- 
 thing) they found their boldness rather a pleasant sensation; much as children do when playing " Booh ! " 
 in and out of a dark room. And always the fire would come, tho sometimes not so quickly as at others. 
 And because the animals had been neighbors to the birds, and had always lived beside the waterfalls and 
 in the depths of the forest, their cries also resolved themselves into songs to which you could apply the 
 syllables doh, me, soh, or doh, may, soh. 
 
 19. Thus the god was born, for in the songs that had called forth the fire, for the first time 
 were his bones, his flesh and his blood, his strength, and his color all together in one whole. 
 
 20. Tho the animals had brot the god to life, they did not know what they had done ; and tho 
 the god had made them into people, he did not know that either. And so they lived together day by day, 
 
 Copyright. 1916, by George Edwards, 
 
OSWALD C. COFFMAN 
 
 MUSIC PUBLISHER 
 
 SAN DIEGO, CALIFORNIA 
 
 Dear Friend: 
 
 There was once an Elderly Woman to whom her Friends 
 presented a Bible with Commentaries. When asked how she liked the 
 Gift, the Woman answered: "I like the Bible very much, and I under- 
 stand it thoroly ; but I can make neither head nor tail of the Commen- 
 taries 1 ' . 
 
 There were many encouraging responses to the first install- 
 ment of "The God Who Made Himself" ; but also there were many like that 
 of the Elderly Woman, and on that account we have decided to send out 
 the second installment, as before, to all those who (we have reason 
 to believe) are interested in the problem of music in its relation to 
 the other activities of life. The only complexity in the "Notes" was 
 contained in the short introduction, the meaning of which it is the 
 object of the work to elucidate. Perhaps (like prefaces, which as 
 Shaw says "are always written last" , ) the fundamental argument should 
 have been given at the end. To all those who did not understand it, 
 Mr. Edwards suggests to wait until the facts are all described, or else 
 to forget it altogether, just as the Elderly Woman probably did with 
 the Commentaries. 
 
 Meanwhile, if the story (which is the main thing), pleases 
 you, your subscription to the series will greatly encourage the pub- 
 lishers in this experiment in an unusual field. 
 
 Yours very truly, 
 
 Oswald C. Coffman, 
 
 Publisher. 
 
neither knowing how the other came to be (nor thinking about it, for that matter). 
 
 21. And yet they always depended upon each other. For instance, when the animal-people 
 went out to fight they called him forth on conch shells (like bugles, which always sing songs composed 
 of doh, me, soh). And in order to secure unity of action (as in marching, shooting arrows, and throwing 
 missies), they would call him forth in songs. They also used the songs to stimulate their pride (for in or- 
 der to excell in war it is necessary to believe that your people are " better " than other people — that is 
 what is meant by patriotism); also, to render themselves as cruel as possible ; (for when a mob is excited 
 it is capable of deeds from which in ordinary times the natural sympathies would deter them.) But 
 most of all they called him forth in order to keep up their courage (for they were always afraid of everything). 
 
 22. On all these occasions the god responded. He sometimes did not like to do this, for he 
 loved the animal-people, and did not wish to help them do each other harm. But tho he had made them 
 into people, they had made him also ; and so he was never able to refuse. 
 
 23. Some people say that it was in the wars the god was born, and no one knows but what 
 they may be saying truth. 
 
 24. When the animal-people had dwelt with the god a sufficient length of time, more and more 
 of their attention was given to the making of comfortable things. At these times the god was very happy, 
 and loved to be with them. For instance, many months were required to hollow out a canoe. Because 
 they had no metal tools they were compelled to wear away the wood with sharp stones. Now in order to 
 keep together (for they mostly did their work in groups, as children do in school) ; and, because they had 
 found in calling forth the fire that any long continued action always falls into the regular movement of 
 walking, running, and the beating of their hearts, they began to sing (songs mostly based on doh, me, soh 
 —tho occasionally ray and lah were added). This was in order to relieve the monotony of the work, and 
 to overcome their natural laziness. (For just as they were always afraid of everything, so were they always 
 tired except in play. All children understand that). 
 
 25. Indeed, some people say industry was the birthplace of the god. And no one knows but 
 that they may be right. 
 
 26. As the animals gained one by one these human characteristics they lived yet more and 
 more with the god whom they had made (and who had made them). When the young men and young 
 women wished to show their liking for one another, the god delighted in acting as the go-between, and 
 came forth in lovely songs in which they expressed their love and their desire to be loved. And every 
 time the songs were sung the god lived yet more fully, and grew in stature, flesh, strength, and color. 
 As he grew, he in turn was able to inspire yet more of love within their breasts. 
 
 27. Some there are who say the god had his birthplace in the people's love. Certain it is that 
 this is one of the ways in which he got his growth. Others say he was not born alone, but in company 
 with various brothers, sisters, cousins, friends. Of these I shall immediately tell ; and every child can 
 form his own opinion. 
 
NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 16.* For a description of loyalty within the groups (even among the simplest animals) — a principle which everywhere 
 balances Darwin's theory of "survival of the fittest", see Kropotkin's Mutual Aid Among Men And Animals. (London, William 
 Heinemann, 1910). 
 
 17. Jack London's Before Adam is one of the most readable and graphic descriptions of the prevailing "fear psychology" 
 of primitive men. It also contains a good account of the use of fire as the primary rung in the ladder of human evolution. 
 
 18. A fanciful and entertaining essay on the first clumsy discoveries of roast meat is Lamb's A Dissertation on Roast Pig 
 in the Essays of Elia. 
 
 The association of magic with primitive activities is entertainingly told for children in Dopp's The Cave Men, and others 
 of the same series. 
 
 19. For the most primitive songs, confined to the tonic major and minor chords, see Analysis Of The Evolution Of Musi- 
 cal Form by M. H. Glyn. Apendix A. 
 
 20. For the psychology of the "Self" and the development of the "I" see Cooley's Human Nature And The Social Order, 
 Chaps. V. and VI. (Scribner's 1912). 
 
 21. In this connection the actual bugle calls should be taught. The commonest bugle calls may be found in Nelson's 
 Encyclopedia, Vol. II. pp. 368 9. 
 
 On concerted action see Walleschek: Primitive Music, p. 42, (music of the Ngeri), Also Him : Origins of Art, Chap. XIX. 
 
 Courage: Walleschek, p. 205, (the women of Madagascar). 
 Also Hirn. 
 
 Cruelty : Hirn, Chap. XIX. 
 
 Pride : Hirn, Chap. XIX. 
 
 Signals, and the origin of leit motives : Wallaschek, p. 100; Combarieux: Music: Its Laws And Evolution, p. 179, (music 
 of the Hebrews). 
 
 Wallaschek concludes that music owes to warfare "the first rythmical beating of time" and "the first fixed melodies" as 
 well as "the first orchestra, which was a band". 
 
 23. Ruskin : Crown Of Wild Olive, Lecture III : War. 
 
 24. Combarieux : Music : Its Laws And Evolution, p. 182 ; Spencer : Principles Of Sociology ; Bucher : Arbeit Und Rhythmus; 
 Hirn: Origins Of Art, p. 255; Verneuil: L'art Musicale En Senegale; Wallaschek: Primitive Music, p. 22. (Music In Burma). 
 
 27. Darwin ; The Descent Of Man, (Second Edition), Chap. XIII. 
 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
THE GOD WHO MADE HIMSELF 
 
 I. THE GOD WHO DID NOT EXIST 
 
 II. HOW THE GOD WAS BORN 
 
 III. HIS RELA TIVES 
 
 IV. HOW HE CLOTHED HIMSELF 
 
 V. HOW HE LEARNED TO WRITE 
 
 VI. HOW THE GOD AMUSED HIMSELF 
 VII. ADOLESCENCE 
 
 VIII. MARRIAGE 
 
 IX. DIVORCE 
 
 X. THE GOD'S PHILOSOPHY 
 
 XI. THE SOCIAL REVOLUTIONIST 
 
 To be issued serially. Cover, 10 cents. Each part, 10 cents. 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 OSWALD C. COFFMAN. 
 
 SAN DIEGO. CALIFORNIA. 
 
10 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 III. 
 
 HIS RELATIVES. 
 
 28. By all the means I have just described the god was gaining in flesh, for it now consisted 
 not only of doh, me, soh, and doh, may, soh, with the addition of ray and lah ; but in due course fah and 
 te were added. Meanwhile, of course, his bones must keep pace with his growing flesh, and the events 
 which I ami about to describe were mainly connected with the development of his skeleton. 
 
 29. In order to understand that, however, it is necessary to know that he was not the only 
 god in the world. Several other gods had come into existence at the same time as he, and two of them, 
 especially, were quite closely related to him ; if not quite brother and sister, at least own cousins. 
 
 30. One of these— a boy— was always talking. And whenever the newly made people wished 
 particularly to remember anything they had learned, or whenever they desired to communicate with 
 other groups of animal-people, they frequently joined the two gods together, and put the words into a song. 
 This was in order to be quite certain that the boy would repeat the message exactly as they gave it to him. 
 Helping the boy thus to remember was a service our god (for as yet he had no name) was always delight- 
 ed to perform. 
 
 31. The other one — a girl — was forever dancing. The people loved her dearly; tho they were 
 never quite satisfied to play with her alone, but always joined her with the other god— our god (the one 
 who sang). 
 
 32. From these exercises he gained in energy ; his bones grew strong and supple ; his flesh 
 became firm and muscular. After a time he was able in his songs to copy all his sister's steps, so that 
 merely to hear him singing the newly made people could imagine they saw her dancing. 
 
 33. Thus his bones, which for a long time had been all the same length, like the breaths of a 
 sleeping baby, or the beats of its little heart, took on a great variety of forms. The words of the god 
 who talked were responsible for some of these variations, as may be seen in the songs of the people who 
 are being made in our day. 
 
 34. But more potent than they were the steps of her who danced. Certain bones of which 
 the god was made grew out of the figures of her dances, and became fixed in his form ; until today merely 
 by examining a bone, those who know the god best, and love him most, can tell whether it was formed 
 by his sister's waltzing, marching, or dancing the Gavotte, Musette, or Tarantelle ; the Sarabande, Ma- 
 zurka, Minuet, or Polonaise. 
 
 35. And while no one knew for a long time— in fact it is a secret which, so far as I know, has 
 never been told before— so many of his bones were shaped by the figures of her various dances that sel- 
 dom afterward did he grow any bones which could not be traced to his sister's influence. 
 
 36. But tho the bones, as I have shown, took on considerable variety, they had come into ex- 
 istence in the form of heart-beats. So forever afterward all the long and short bones, all the large and 
 small bones, and all the straight and crooked bones, were such only as could be measured by the original 
 even ones — the ones made out of heart-beats. 
 
 Copyright, 1916, by George Edwards, 
 
11 
 
 37. When the animal-people first began to build their homes, yet another god was born to help 
 them do the work. And when they decorated the walls, still another. But with these our god was not 
 so intimate, for he loved at first only to be out-of-doors, and always felt constrained When cooped up in 
 the house. 
 
 38. Much later another god, who loved to carve in wood and stone, taught the people how to 
 make altars to the god who sang. And when the colors which he should wear (of which I mean later to 
 tell you) came into existence, the god who carved would decorate the instruments of color with flowers 
 and scrolls similar to those which appear on violins, pianos, harps and organs to this day. 
 
 39. Some people say the gods were five in all ; others tell us there were nine. The simple fact 
 is, wherever the animal-people created anything which had not been in the world before, or even merely 
 transformed things that already existed into others more suitable to their human needs, there a god was born. 
 
 40. Every year the animal-people held festivals. They came together from far and near, to 
 dance and sing, and contend against one another in games. Prizes were offered for the best songs, the 
 greatest poems, the noblest instruments. At these times the god was happiest of all, for at the festivals 
 alone it was that he and his relatives held full sway over the hearts of the people. 
 
 41. And some there are who believe the god was born in the people's play ; others that at the 
 elaborate festivals he came to life. No one knows but what they may be saying truth, but certain it is 
 that in these ways he grew in bone, and brawn, and strength, and color. 
 
 42. However the god was born, it is clear that it was the animals who were all unconsciously 
 trying to become people, that had brought him to life. Moreover, from the very moment the god drew 
 breath, in his effort to grow up he (just as unconsciously) helped to make them human. Nothing is ever 
 born into the world alone, but always in company with other things. When a child is born, immediately 
 a father and a mother come into being. The gods and the people had made one another. And this is 
 the answer to the question which all sensible children frequently ask : "Who began the beginner ? " 
 
 43. Now at last the animals were really people. Much of the hair had disappeared from off 
 their bodies ; their foreheads had grown broader, taller. And the god, too, at last existed. His flesh and 
 bones were fully formed, however many the changes they would undergo in growing up. The connec- 
 tion between these two things must now be clear ; and this is the greatest fact in the world : We create 
 ourselves by rubbing elbows with many other things ; while all the other things in turn are creating 
 themselves as fast as ever they can by rubbing elbows with one another, and with us. And in the be- 
 ginning neither we nor they know anything about what is happening. 
 
12 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 28.* Analysis of the Evolution of Musical Form, by M. H. Glyn, Chap. VI : "The Evolution of the Scale." Examples : op. 
 cit., Appendices B to E. A successful modern example of pentatonic usage is Edgar Stillman Kelly's The Lady Picking Mulberries. 
 Pentatonic practice in minor is unusual, but a good instance is the "Japanese Song" in Engel's Music of the Most Ancient Nations, 
 p. 139., (London, William Reeves. 1864.) 
 
 "Time figures form, as it were, the skeleton of the art, and lacking these, music tends to become invertebrate or wooden, like 
 human figures drawn without sense of anatomy". (M. H. Glyn, op. cit., p. 148.) 
 
 30. Hirn: Origins of Art, Chap: "Information". 
 
 31. "It is scarcely possible to speak of the beginning of music without at the same time thinking of the dances with which 
 it was intimately associated It is more than a mere connection, it is a unified organism. ... so unified that it is nei- 
 ther possible to treat of the subject of primitive dance without primitive music, nor to make it even probable by means of ethnol- 
 ogical examples, that they were ever separated."— Wallaschek : Primitive Music. 
 
 33. The culture of the masses is inevitably imaged in popular art, and musicians who seek to understand the relation of 
 their art to life must observe the methods of writers of popular music without prejudice. It is in large measure thru the popular 
 songs and dances that "people are being made in our day". In two recent songs of this class the influence of the words on the 
 musical time-outline is remarkable: (1) the word "nevertheless" in "I Want to go Back to Michigan"; (2) the words "I didn't 
 want to do it", in "You Made me Love You". 
 
 35. "An interesting fact arises from the study of the bar, and this is the close relation of bar-figures to the figures of dan- 
 ces. It is as if the bars had grown up out of the necessities of the dance ; and if the beat can be considered to represent a step, 
 the dance figure, or group of steps, is faithfully imaged in the standard bar-figures of music. This is true not only of music ad- 
 mittedly associated with the dance, but is evident in songs and more complex music as well, such as sonatas and symphonies". 
 —From The Time Materials of Music, by George Edwards, Article II, printed in "The Indicator" (Chicago) Mar. 11, 1914. 
 
 36. M. H. Glyn : Op. cit. Chap. II, The Simple Standard of Time. 
 
 40. For the "Festival Theory" see Brown: The Fine Arts. (New York, 1891, Charles Scribner's Sons.) 
 
 41. Groos: The Play of Animals, and The Play of Man. 
 
 42. At this point appears the transition of music from the active unconscious period to the period of attitudes (emotional, 
 self-conscious). The standard materials of time and pitch had all come into existence in connection with the practical activities 
 of life, and were only beginning to be developed further for the purposes of pleasure and entertainment. I have dwelt more par- 
 ticularly upon the significance of the first period for the reason that in no history of music with which I am familiar has the 
 unconcious birth of the elements of music been adequately emphasized. ^Music was at first purely practical.) Its use was to get 
 things done. It is only in the writers on sociology and psychology such as those above quoted that this significant fact has been 
 brought out. The bearing of this upon the conclusions to be reached in the story will be apparent in future chapters. 
 
 * Figures refer to corresponding paragraph numbers in the preceding story. 
 
} [(^Mr**^ 
 
 NOV 22 1918 
 
 UN 3 V * K ol TV 
 
 THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 x, 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one* dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
14 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 IV. 
 HOW HE CLOTHED HIMSELF 
 
 44. Like other children the god loved every vivid color. At first the colors which he chose 
 with which to clothe himself were rather crude, but as he grew older gradually his taste became more 
 and more discriminating, until at last he knew how to blend the most intricate shades into a "changing 
 garment" for his delight, and for the pleasure of the newly made people. But the colors were not such 
 as you could see, but only hear. And for a very long time the only color which was available at all was 
 the color of the people's voices. 
 
 45. One of the first things which made him think of color was the conch-shells which ( as I 
 have already described ) the animal-people used as bugles. These they had seized upon because their 
 song carried much further than the unassisted voices. 
 
 46. At first the people did not notice the new color with which the conch-shells invested their 
 songs. But the god did, and he made a mental note that some day his dress should consist not alone of 
 the single color of the people's voices— beautiful and various in shade as they often were. There should 
 then be borders and ornaments besides of this other color— the color of the conch-shells. But this he 
 was not able to accomplish for a very long time. 
 
 47. Meanwhile, as the people demanded more and more adequate means of carrying on the occu- 
 pations of their daily life, other colors kept springing into existence. In calling forth the fire or rain, 
 and in performing magical rites for healing the sick, they soon learned to make rude bells. They had 
 early found that the spirits which controlled these things could not be impressed very much by the ordi- 
 nary tones of the people's voices. The tones which the bells gave forth when struck were of a peculiar 
 color ; one which was entirely different from the color of their voices or the color of the conch-shells. 
 And the god made note of this new color also, and determined that it would some day make another 
 splendid ornament for his apparel. 
 
 48. In their love-songs the people soon felt the need of the most delicate colors, and by mak- 
 ing instruments of hollow gourds and strung with metal or with cat-gut strings, they could produce up- 
 on them tone-colors of surprising beauty. So that a lover had only to play upon this simple violin ( even 
 but the songs the birds sang, or the work-songs which everyone knew and could sing by heart ) and his 
 beloved hearing him from within would instantly go out to him, and lay her hand in his. 
 
 49. But most of all it was when the people joined the god with his brother and sister— the other 
 gods, the ones who talked and danced^that new and brighter colors were invented. Because the length 
 of time they danced would tire their voices, the people took green branches from the trees in Spring and 
 made them whistles (much as boys do now-a-days). And these were the parents of all the flutes and 
 piccolos in the world. Or by stretching grasses over the mouths of the whistles they could make the 
 pipes produce much shriller tones. And thus were born the oboes, clarinets, bassoons and saxophones, 
 in all the various shades familiar to our present ears. 
 
 50. Already there were drums which had been made by stretching dried skins across hollowed 
 
 Copyright, 1916, by George Edwards 
 
15 
 
 gourds and other vegetables ; and these combined with all the other instruments which I have described 
 were proving a splendid stimulus to the dances the people had. There were corroborees to celebrate 
 the wars that had been won, and to spur the people on to other wars ; religious dances to celebrate the 
 birth or marriage, or in lamentation of the death of certain individuals ; and many other dances, which 
 included pantomimes like moving pictures, in which the people lived over again the delights of hunting, 
 fishing, and the like. In all this playing of the instruments and voices together new and surprising col- 
 or combinations constantly came to light, and now the god was able to deck himself in many varieties 
 of dress. 
 
 51. And the boy-god, when he talked, liked always the company of his brother who sang. 
 But there came a time when he grew a little jealous of the god— our god (the one who sang) — and wish- 
 ed him to keep more and more in the background. He did not wish to abolish him altogether, for he 
 knew the people loved the god who sang, and without his help they might not listen to the god who 
 merely talked. So he invented a kind of instrument called harp, which should provide sufficient means 
 for the god who sang to accompany him, but which should not be obtrusive enough to cover up his 
 words when he should talk. While at first this procedure hurt the feelings of our god, he soon discov- 
 ered that in the process an entirely new color had been added to his garments. And all at once he be- 
 came entirely happy again. 
 
 52. Now at last the people knew the god existed. This was because they had come to love 
 him well enough to invoke him for the pleasure he could give them. The many colors now contained 
 within his wardrobe made his presence particularly agreeable to them, for as long as the only clothes he 
 wore were colored solely by their voices, it was not so easy to distinguish him from themselves. . They 
 called the god "Apollo", and many other names ; and worshipped him, thinking now that he was surely 
 different to themselves. For all the time that he was being born, and all the time that he was growing 
 up, the people were so occupied with merely getting a living they never took the time to reflect that it 
 was they who made him! 
 
16 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 44* The form and development of primitive instruments are described in detail in most standard histories of music, but 
 usually with little emphasis on their useful origin. Louis Adolphe Coerne in his Evolution of Modern Orchestration ( New York, 
 The Macmillan Co., 1908), traces their origin to "religious ritual and pleasure". Religion, as I have shown, is but one of the social 
 origins of music ; and pleasure, while accounting to a great extent for the development of instruments, has been shown by the 
 sociological writers before referred to as an effect rather than a cause in the field of origins. 
 
 " If the sensuous beauty of colour be its most obvious attribute, it does not follow that this was the determining factor in 
 its evolution. Though it is difficult for us to judge of what decided the preference of the primitive savage for one kind of tone 
 rather than another, there seems no doubt that noise pleased him far more than abstract beauty." — Glvn : The Rythmic Concep- 
 tion of Music, p. 156. 
 
 50. Brown : The Fine Arts. 
 
 51. Too much importance in the development of music cannot be given to the minstrels ; or minnesingers, troubadours, 
 trouveres, etc., as they were variously called in different countries. " In Armenia the trouvere still fills the office of publisher to 
 many poets, and by his singing in the streets of the villages and towns gives to the people the poetry of the nation." — Kate Buss 
 in Poetry Magazine, October, 1916. 
 
 The free competition of minstrels necessarily made for rapid development in their art. For the teaching of his revolution- 
 ary methods in composition Wagner could find no happier subject than The Mastersingers of Nuremburg ; for in such a situa- 
 tion he could easily pit the scholastics against the innovator to the confusion of the former and the victory of the latter. 
 
 In ideas, as well, the minstrels were free to exercise their art in its natural function of socializing the people. Goethe speaks 
 of art as "the great librator". In all ages the conventional mediums of publicity have been censored if not controlled by officials 
 in the interests of the ruling classes. But the minstrels could go about among the people stimulating them to revolt from op- 
 pression ; suiting their message to their auditors, and profiting by the personal contact their vocation provided. So powerful 
 was their influence in this direction that a number of the members of the first Irish convention of Harpers provoked the enmity 
 of the government. Several died in prison, and two or three were hanged. (See Redfern's Annals of the Irish Harpers.) 
 
 The relation of ideas to music, and the valuation of ideas as "personal" and "social" will be treated more at length toward 
 the end of the story. At this point I will only say further that the modern form of minstrelsy — the melodrama or meldlog — has 
 been too little appreciated by musicians as a means of teaching the geople the socializing ideas provided by the host of modern 
 sociologists, socialists, dramatists, poets and the like. Of all the great musicians of our epoch Wagner is the only one who has 
 looked upon his art as an instrument for reconstructing the customs of the people. (Shaw: The Perfect Wagnerite.) Will he be 
 the last? 
 
 52. When the people finally invoked the god for the pleasure he gave them, they entered into the field of emotional mu- 
 sic. Psychologists agree that the first "dimension" (to use Wundt's terminology) of emotion is that of "pleasure and pain". In 
 Behavior Psychology the parallel attitudes are appropriation and rejection. 
 
 Regular beats, consonant melody and harmony, etc., had been produced in the unconscious way I have described in previ- 
 ous chapters. These form the standards of pleasure to which innovators, in the course of their experiments, add all the pain- 
 ful elements they can, compatible with "esthetic repose" (Puffer: The Psychology of Beauty). The painful elements at first 
 were ritards and accelerandos, as well as syncopation, in the field of time ; and dissonance in that of Harmony. Development 
 in the instruments of percussion provided sufficient pain in the elements of Intensity and Color. 
 
 Another "dimension" of emotion is that of "elation and depression". This is imaged in the increase and decrease of speed, 
 and the rise and fall of pitch in music. It is obvious that all of these effects were in use in the practical employments of music 
 which I have described. The question arises: How much has the form of music been instrumental in developing the emotions of 
 the human race ? The question is old, but from the point of view of what has gone before it is here, I think, a new one. 
 *Figures refer to corresponding paragraph numbers in the preceding story. 
 
H st* i .^o 
 
 AUG 2 1917 
 
 
 J 
 
 THE GOD WHO MADE HIMSELF 
 
 L 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 vn. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 184s Third street. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
18 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 V. 
 HOW HE LEARNED TO WRITE. 
 
 53. For a long time the god who talked had been writing down his words. He was able to 
 do this partly because he was on intimate terms with one of his cousins, who drew pictures. But the 
 god who sang had never yet written down his songs. 
 
 54. Now for the performing of magic a great temple had been built with the help of the god 
 who had taught the people how to build their homes. The temple was not alone for the purpose of in- 
 voking the spirit of fire. The people had long since discovered that fire could be produced by the sim- 
 ple rubbing of dry sticks together, without any incantation whatever. But they still believed that sick- 
 ness, weather, war and fortune could only be controlled by magical means ; and it was the better to per- 
 form these rites within the temple that they first put the god in school, and taught him how to write. 
 
 55. In the beginning he wrote very poorly, as all children do in the first grade. But not as 
 in ordinary going to school (which consists for the most part in copying what other people have written), 
 the god-child had to invent the signs which he would use. After some time he succeeded in making 
 very fair records of the songs they sang within the temple, and everyone was glad the god had learned 
 to write ; however few were they who could read what he had written. 
 
 56. Unfortunately his success made the god unpleasantly boastful. He said that it was in 
 the temple he had learned to write, and therefore the value of the temple was greater than everything 
 else in the world. He even went so far as to say that in the temple he was born, and only those who 
 served therein were fit to have anything to do with him. 
 
 57. The god's behavior made the people very sad, for they had come to love him dearly. But 
 they believed that they must take his word for this, and even tho they were at first unwilling to do so 
 they began to look with suspicion upon every song which was not written down within the library of 
 the temple. The god's mistake, however, was very natural ; it is a mistake that people are always 
 making. Since everyone else appeared to trust only the evidence of their eyes, the god who sang (and 
 who lived only in sounds) was influenced by the general opinion. It is as if we should say that dogs are 
 mistaken in their practice because their lives depend so much upon the sense of smell! And so the 
 god could not believe that he amounted to very much except when he was written down. • 
 
 58. The god's mistake lasted for a long time, and his arrogance impressed even some very 
 thotful men named Palestrina and Bach. Palestrina wrote nearly all his songs for the temple only, and 
 he seemed never to have realized (as indeed at the time the god did not) that unless the latter had been 
 born and grown up among the people as they toiled, fought wars, played, made love, and sought to make 
 permanent their little store of knowledge, there would have been no bones, nor flesh, nor strength, nor 
 color to the god— nothing of which to make a portrait. 
 
 59. But the thotful man whose name was Bach almost found out the god was boasting. One 
 day a question arose within the temple whether one form of magic should be used within its walls or 
 another. The only way to settle it appeared to be to build another temple. But when the new temple 
 had been made the priests found that all the songs had been left behind, and immediately they set to 
 work to make some more. Now in temples songs are seldom made ; the bones, and flesh, and strength, 
 
 Copyright, 1916, by George Edwards 
 
19 
 
 and clothing of the god (which form the songs) are merely borrowed which grow up among the people, 
 as they work and fight, play, make love, and pass on their various discoveries about Mother Earth. 
 
 60. So the makers of the temple went frankly to the people and said : "Lend us some of your 
 songs ; we wish to use them for your good within the new temple which we have built". And the peo- 
 ple gave them of their songs, for they were very pleased to have the god whom they had made (and who 
 had made them) recognized once more for what he really was. But the makers of the temple did not 
 really mean to use the songs just in the form they were, for in them the god appeared too much like 
 ordinary people. They took the bones and made them all the same length ; for since this condition had 
 been characteristic of the writing of the god within the former temple, they felt that only thus could he 
 be known as he really was. Thus the keepers of the temple but fed his boastfulness the more, and were 
 always pleased that he should say he was born within the the temple, and had grown up there. 
 
 61. The thotful man named Bach loved the people dearly, but because the writings of the 
 god had now amounted to a very large library, and as Bach had come to know him mostly by reading 
 and copving the records in the temple, he also thot the temple music must be the true portrait of the god; 
 and so he set to work to bring the new temple close to the hearts of the people. 
 
 62. Now all the kinds of flute and bugle in the world had been set on end and attached to a key- 
 board, and the whole was called an organ. Likewise the harps had been laid on their side and hammers 
 corresponding to the strings had been attached to another similar keyboard, and this was called a harp- 
 sichord. Because the organs were so expensive the people had to combine together to make them, they 
 were set up in the temples. The harpsichords were cheaper, and some of the people could have them 
 in their homes. The organs were therefore used exclusively for the temple songs, whereas the harpsi- 
 chords were left to sing the songs of the people. The former music was called "sacred"; the latter "sec- 
 ular", or "profane". 
 
 63. But no one at this time had been able to tune so many flutes and so many strings so that 
 that they were all in tune with one another. This the god taught Bach to do. But this was only one of the 
 many things the latter did, for he brought the temple music to a state of perfection never before attain- 
 ed in any of the god's activities ; and, fortunately for the god, at the same time he introduced certain el- 
 ements of the people's practice which paved the way for proving to the god how foolish his boastfulness 
 had been, and for giving him back to the people who alone could keep him in humility and simple self- 
 respect. 
 
 64. Thus, while the god had taught the thotful man named Bach, the latter had also taught 
 the god much about himself of which before he had been in ignorance. And, just as I have told you who 
 began the beginner, so you here may see how the god continued to grow. For by now the god was very 
 large. 
 
 65. But long before this time he had received the name of "Music", by which he still is known 
 to nearly all the people in the world. 
 
20 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 54* For a general understanding of the action of the religious consciousness Dr. Noel Reichardt's Significance of Relig- 
 ion in Brain Development (George Allen, London, 1912), is, with certain reservations, one of the most helpful. He associates 
 religious consciousness with the "pyramidal cells" of the cortex. (See cross-section of the cortex of the brain in Ladd's Physio- 
 logical Psychology, or any other standard work on the subject). He maintains that the process of racial development is the con- 
 necting up of these cells with the general nervous system, so that the illuminating and "intuitional" experiences of the ascetics 
 and seers gradually find means of being "checked up" by objective methods. That the newest connected cells are the means of 
 vivid objective experiences. That as the nervous connections establish themselves these cells perform more and more of the 
 functions of mere habit, progressively losing their original property of vividness. 
 
 That the chief characters of the religious consciouness are (1) exaltation of self-consciousness, resulting in the stratifica- 
 tion of society into classes : "the principle of castes expresses this deification of the Self in the classes most capable of the pro- 
 cess of self-exaltation" (p. 51). (2) The dramatic form of consciousness, usually associated with illumination and splendor, as 
 opposed to the rational method which represents control of objective environment. 
 
 His theory is that the organs of the earliest savages were not sufficiently connected up to give completely objective impres- 
 sions of the objects they sensed, so that stimulations were more to the imaginative "centers" (the pyramidal cells) than to the 
 practical control of environment. This was especially true of the "partial view" of trees, streams, animals, etc. ; hence the 
 "animism" of savages, whereby every object appears to be animated by a "spirit". This much of the author's work — his facts 
 of primitive life, physiology, religious consciousness, sociology, etc. — is a valuable contribution to scientific literature. 
 
 The fact that he appears to accept the reality of a "Creator of the Universe", however, points to his own fall into the 
 primitive error he describes — that of assuming the objective reality of the perceptions of these "religious centers". This, togeth- 
 er with his failure to account for the unconnected cells by the established evolutionary doctrine, of the growth of organs in re- 
 sponse to the needs of immediate life, seem to me to render his conclusions of less certain scientific value. 
 
 55. For the evolution of notation, see Vincent d'Indy : Cours de Composition Musicale, Premier Livre (Durand, Paris, 
 1898), Chapter 3. 
 
 56. The Rythmic Conception of Music (Glyn) Chapter 2: "The Evidence of History". 
 
 59. Luther is credited with saying : "Why should the devil have all the good tunes ? ", and establishing the hymnal for 
 his church on the songs of the people. 
 
 60. But he did not leave the tunes as the devil gave them ; but converted them for the most part into time-outlines of 
 equal notes : the Chorales, such as Old Hundred, A Mighty Fortress, etc. 
 
 61. Bach : Chorales, Passion Music, Church Cantatas, etc. Handel : Oratorios. 
 
 63. Bach did much to establish fugues upon the "ternary" type of popular practice in the relationship of keys and the 
 balance of the large sections of a movement. He has been said to have been much influenced (along with Handel) by the Ital- 
 ian standards of the time, in which "form" in the sense of "relation of all parts to the whole" had reached a high condition of 
 unity and variety. Prout has shown that fugues are of simple "ternary type", consisting of exposition, development in related 
 keys, and recapitulation in the original key. (Fugue, Fug al Analysis, Augener & Co.) 
 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
<><SW>-Cl^^^O . 
 
 AUG 2 191/ 
 
 • 
 
 THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XL 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 1849 Third street. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
22 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF. 
 
 66. When I tell you how the god amused himself I do not mean he did not work ; children 
 never work so hard as when they play. What I really mean is that after he had learned to write, what 
 he next set out to do was with the object of getting all the immediate, fun he could, without any ref- 
 erence to what his acts were for— their later meaning. As we have seen, until this time the god had 
 labored hard. He had helped the people do their work ; had helped them light their fires ; had helped 
 them fight their wars, make love, and form a record for their simple science. Now he meant to learn 
 how to enjoy life. And I do not mean by this that he thot very much about it either ; the greatest 
 events in life come about before we know them, and only afterwards are we in a position to realize all 
 they mean for our development. But I must not moralize as yet ; I will tell you what he did. 
 
 67. There was at this time a thotful man named Haydn who, like Bach, had learned about 
 the god by reading in the temples. Very probably (except for another fortunate accident of which I 
 mean to tell you) Haydn, too, would have worked away his life within the temple— either the new one 
 or the old— and would only have contributed to the boastfulness of those who kept it, as well as to the 
 pride of music (for, as I have said, before this time the god had received the name of Music). 
 
 68. But by now the rulers of the people had observed how much the god was able to con- 
 tribute to their feasts and other pleasures. And one of these (a Prince) seized the thotful man named 
 Haydn, and carried him away from the temple to his castle in the wilderness. There he was told that 
 he must write a new piece of music every day for the entertainment of the Prince's guests. And be- 
 cause the thotful man was there provided with a complete orchestra, measured by the standards of that 
 time (for now the god possessed a very large wardrobe of clothes of many colors), he was not at all dis- 
 pleased with his new home. He did as he was bade, produced a new piece of music every day, and laid 
 it beside the Prince's plate where the latter should see it at his breakfast. And every piece of music 
 added to what there was already of the god made him grow at a rapid pace, particularly in length as I 
 shall presently describe ; just as most young men and women do who shoot up suddenly to the height 
 of mature people before they begin to fill out in all the various proportions suitable to grown-ups. 
 
 69. Life went along in this manner very well for a time, until that the things to write about 
 began to run out ; and then the thotful man was sore beset to fill the Prince's daily order. But near the 
 latter's castle lived many farmers and other makers of comfortable things, such as carpets, clothing, 
 cakes, bread, wine, books, tables and the like. This was because a ruler's power and money always 
 come from taxes paid by the people who live upon his land ; and in order for sufficient money to be 
 forthcoming, there must always be a large number of working people to sell what they have made. 
 These people always sang when they were at work— songs in which as I have shown the god was born ; 
 songs of love, and songs containing stories, even songs about war. (For tho they always dreaded war, 
 
 Copyright, 1917, by George Edwards 
 
23 
 
 they were frequently compelled, because of the rulers' quarreling among themselves, to go and fight.) 
 Very often, too, the people would hold festivals and fairs, and at these times all the songs were sung 
 over and over again. And the god who talked, and likewise she who danced, were always present, too. 
 
 70. The thotful man named Haydn went to the fairs and wrote down the songs and dances. 
 For, having learned to write within the temple, he could do this easily, even tho the people had not the 
 slightest idea what he was doing. Thus every day he could make a new composition and lay it on the 
 Prince's breakfast table. The day was saved, and never thereafter did the thotful man run out of things 
 to write about. 
 
 71. But the pieces as he wrote them down were much too short to last thru dinner. That 
 was the time, when his guests were holding conversation among themselves, that the Prince liked most 
 to have the god on display. And so the thotful man invented ways to string the people's songs together 
 and make longer pieces, treating them with all the cunning devices which he had learned within the tem- 
 ple for spinning out and decorating the simple hearty tunes. He scarcely knew how important all this 
 was. People are always making something for a certain use, only to find when it is made that it is 
 much more suited to another, nobler purpose. 
 
 72. Other thotful men came after Haydn, and spun out pieces of ever greater length ; but 
 always held together by the most intricate workmanship; and revealing in their finish all the balance, 
 sweep, and unity characteristic of the finest architecture, such as temples, palaces, castles and the like. 
 Some of their names were Mozart, Schubert, and Beethoven. And many think the last named thotful 
 man was the greatest friend the god possessed ; the man who knew him best and loved him most in 
 spite of that. 
 
24 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 66* Groos: The Play of Animals, and The Play of Man. 
 
 67. The remarkable achievement of Bach seems to have been the summing up of the era before him, the era of practical 
 music. For more than anything else he was the propagandist of the Protestant movement. As Bach is the earliest of the com- 
 posers whose names appear to any extent upon modern programs, many people erroneously think of him as the father of mod- 
 ern music. It is rather Haydn, whose early works can scarcely be distinguished from folk music, who forms the natural link 
 between primitive music and our modern style ; revealing Bach as a phenomenon aside from the straight course of evolution — 
 the product of the newly invented notation system, and. of the artificial methods of the monastic school of composers. The dif- 
 ference is, briefly, the difference between the polyphonic method : in which equal importance is credited to every voice which 
 takes part — the ideal of the early church composers; and the "rythmitonal" method : in which a principal melody is accompanied 
 by chords, or at most by melodies subsidiary in character — as in the people's practice. 
 
 68. Tolstoi: What is Art ? Oddly enough Tolstoi's book has been disdained by the very people who hold that only the 
 great artist is capable of judging a work of art. This is, I think, because the intense social consciousness of the book is not a 
 common possession among the profession of artists. For few are they who hold that Tolstoi was not, or at least had not been, 
 a great artist at the time he wrote this book. His theory is, briefly, that the democratic nature of art disappeared from the mo- 
 ment of the aristocratic patronage of artists. That the true function of art (from the Greek, meaning "joining") is the social 
 "infection" of the people with common emotions. That the ideal of art for the sake of pleasure makes it an exclusive possess- 
 ion of the "upper" classes, for the reason that only they have the leisure and the means to enjoy it. That the effect of this ex- 
 clusiveness is a limitation of subject matter : pride, sex, and ennui being the chief of those which remain. That the methods of 
 this degenerate art are borrowing, imitation ; resulting in affectedness, and substitution of interest for emotion. That the result 
 upon artists is the sin of separateness— professionalism, which he treats under the heads of remuneration, criticism, and schools 
 of art. His own criteria are individuality, clearness, sincerity, and for subject matter universal experience and the ideal of broth- 
 erhood. Religion is above all in his theory the proper subject-matter for art, and his religion appears to be a socialistic inter- 
 pretation of Christianity. 
 
 Whatever one may think of the particular morality upon which Tolstoi insists, the earnest artist cannot fail to be impressed 
 by the democracy of his ideal for art. Whether it shall be his kind of democracy or ours is, of course, another question ! 
 
 69. Wagner also held this view at one time. In his Art and Revolution he declared that until the people were free from 
 poverty, thus assuring a free audience, the creative artist himself could not be free to materialize the very best of which he was 
 capable. In other words, the artist and the people are members of the same "organic circuit"; or, in still other words, creator 
 and percipient are the two ends of the same stick., 
 
 70. Brown : The Fine Arts. 
 
 72. For a comparison of music with architecture see Gurney : The Power of Sound. 
 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
t 
 
 AUG 2 1917 
 
 THE GOD WHO MADE HIMSELF 
 
 L 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE ' 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 1849 Third street. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
26 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 VII. 
 ADOLESCENCE. 
 
 73. By this time the god was nearly grown to manhood. His bones were fully formed ; for, 
 as I have just described, they had waxed by means of the pieces added to him by various thotful men, 
 until he was as tall as a normal god should be. His flesh was firm and healthy because of his active 
 life among the people, being at times a most complex structure, and at others as simple and pliant 
 as in most young men. In strength he had attained very great force, and yet when occasion demanded 
 he could be as gentle as a baby lamb. His wardrobe now included clothes of every color, from 
 the deep blues and greens of the bassoons and clarinets to the lighter shades of flute and oboe; 
 from the deepest to the lightest browns and reds of basses, cellos, violas, and violins ; and in it were 
 many other colors given him by the trombones, horns, trumpets, and divers instruments of percussion. 
 And then he fell in love. 
 
 74. Not with anyone or with anything in particular ; but just as love first comes, with every- 
 thing and everybody in general. He loved the rocks and hills and streams laughing in the sunlight, or 
 mystically sleeping under the moon. He loved the flowers and trees with all their many colors and 
 their smells. For it was Spring, and all the possibilities of the budding earth seemed made alone for 
 him, and corresponded with the floods of energy which pervaded him. He loved the birds and animals, 
 especially those which lived the free life of the woods and meadows, and the fishes of the open sea. 
 For he never saw one of them imprisoned for labor or for curiosity that he did not pity it, and regret in 
 some degree its vanished freedom. 
 
 75. But above all he loved the people. For most of them, he thot, were not nearly so well off 
 as the birds and animals, and the fishes in the sea— free to go and come ; to work only when they need- 
 ed food and shelter, (and in the wilds, where there are no signs against trespassers, this was very sim- 
 ple) ; to play about until they were tired ; and then to "loafe and invite their Souls". Even those who 
 (by collecting rents and taxes) had gained sufficient leisure, did not seem to know what to do with it ; 
 for nearly everyone else was busy all the time gaining the money necessary to pay the rents and taxes, 
 and there was no one then to do these things along with them. They, least of all, knew how to hunt 
 surprises in the forest— romantic glens, dells of ferns, homes of birds and snakes and burrowing ani- 
 mals. But the god loved them all- the masters and the workers alike— for none of them knew very 
 much how to behave differently to their forebears. What was good enough for their fathers was good 
 enough for them ; and never in the memory of anyone had there been a time when they did not resem- 
 ble a hugh nigger pile. A few on top were supported by a vast throng underneath, struggling and toil- 
 ing ; and too little educated and too under-nourished to get out from beneath and claim for free and 
 pleasant living all the vast spaces round about the piles. For those on top had early learned to hold these 
 spaces out of use lest there should be no pile to have a top. 
 
 76. He did not know why he was in love. Other thotful men named Schumann, Chopin, and 
 Mendelssohn had all contributed pieces which developed his affections. They forsook the lengthy meth- 
 ods of their predecessors, and devoted themselves to shorter songs imaging as faithfully as possible the 
 
 CopjTight, 1917. by George Edwards 
 
27 
 
 people's love of Mother Earth, of plants and animals. Likewise, all the moods and feelings of the people 
 for one another, became the subjects of their music. Spring songs, brook songs, dream songs, carnivals, 
 boat songs, serenades, love songs— these were all they wrote about. Whatever in tones could image an 
 attitude of yearning for anything under the sun, these men seized upon and formed into pieces which 
 they added to the god's young body. Or should I say that these were mostly meant to grow his nerv- 
 ous system ? For wise men tell us that feeling is the action mostly of the nervous system, and most of 
 all the "sympathetic nervous system" winding in and out among our vital organs. 
 
 77. While the god had been learning to write within the temple this yearning had been 
 growing up within him. At first it was a yearning for a Universal Father. Later, when he entertained 
 the Prince's guests the yearning was for the Infinite. (For a peculiar thing called "Metaphysics" was a 
 favorite subject with the Prince's guests ; and these conversations always began with the "Absolute".) 
 And now the yearning was for the fields, the woods, the animals, the people. But one thotful man 
 named Gurney merely laughed at the poor adolescent god, and declared that in reality all his yearning 
 was but a yearning for the next note! 
 
28 
 
 NOTES. ' 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 73.* G. Stanley Hall: Adolescence, (two vols.) 
 
 74. The history of emotional theory is briefly as follows. 
 
 If we begin with Darwin, it is clear that emotion was conceived to be an "inner state" which under certain conditions is 
 followed by some gesture which is its "expression". (Darwin: The Expression of Emotion in Men and Animals.) For a num- 
 ber of years discussion of emotion centered about the time-relation of the feeling and the expression. Wundt followed Darwin 
 with a theory of "psycho-physical parallelism", which meant that whether feeling or expression comes first, at least they always 
 accompany each other. He described emotion in terms of "dimensions": pleasure-pain, intensity, duration, etc. The James-Lange 
 theory followed this with the disrupting theory that expression precedes emotion. "We see a bear, start to run away (an in- 
 stinctive or reflexive action) and then feel afraid." (William James: Psychology.) From among these three points of view 
 everyone could take his choice, and the limits of time-relation between emotion and expression seemed to be exhausted. 
 
 Dewey next attacked the problem from a different angle. He conceived that every emotion consists of a conflict between 
 opposing instinctive or reflexive tendencies. (John Dewey: The Theory of Emotion, in the Psychological Review, Vols. 2 and 3.) 
 Dr. Kate Gordon has taken his theory as the basis for her investigation of art-psychology: (Gordon: Esthetics.) She suggests 
 that the great principle of "contrary motion", which is familiar to students of Harmony, is the perfect image of this conflict of 
 tendencies which constitutes emotion; and thus she accounts for its origin. Students of Harmcny will be reminded by this that 
 much of the richness of effect which enters into music consists of the tendencies of tones in process of satisfying themselves: 
 dissonance and resolution, suspension, retardation, etc. In this statement "richness" stands for emotion. (Frank H. Shepard, 
 in his text-book on Harmony appropriately speaks in terms of "tendency notes"). In syncopation, as well, the conflict of the 
 "time-outline" with the beats furnishes another example of the emotional quality of "opposition of tendencies". 
 
 Most recent of all is the "Behavior" theory, tirelessly seeking terms which will bring psychology into the class of sciences 
 of observation. It discards the term "emotion" altogether, substituting "attitude" therefor, thus bringing psychology and art- 
 technique closely together. Actors; for instance, have long been used to speaking of "attitudes" as the objectification of feel- 
 ings. According to the new psychology, any instinctive, or unconscious action which is thwarted, or checked, in any way so 
 that it may not at once accomplish its immediate end, results in an "attitude". The field of attitude takes the place, under this 
 theory, of the field of emotion, or feeling, in the older thinking. 
 
 It is probable that the Dewey theory is still the best for the understanding of musical psychology, for even an attitude is 
 analyzable into a "conflict of tendencies". And in the materials of music the tendencies of tones, and how far they are to be 
 satisfied, delayed or denied is the composer's primary concern. It is, as Schopenhauer imagined, as if the tones had a will of 
 their own; and the composer may impose his will upon them only by duly considering the innate tendencies of the tone- 
 materials. 
 
 75. "The ownership of land is the basis of aristocracy. It was not nobility that gave land, but the possession of land that 
 gave nobility. . . . The right of the lord to the soil acknowledged and maintained, those who lived upon it could do so only 
 upon his terms. The English land owner of today has, in the law which recognizes his exclusive right to the land, essentially 
 all the power which his predecessor the feudal baron had. . . . Our boasted freedom necessarily involves slavery, so long as 
 we recognize private property in land. Until that is abolished, Declarations of Independence and Acts of Emancipation are in 
 vain. So long as one man can claim the exclusive ownership of the land from which other men must live, slavery will exist, and 
 as material progress goes on, must grow and deepen. . . . Private ownership of land is the nether millstone. Material prog- 
 ress is the upper millstone. Between them, with an increasing pressure, the working classes are being ground." 
 
 — Henry George: Progress and Poverty. 
 
 76. Emotion and the Sympathetic System : James' Psychology. 
 
 77. Gurney : The Power of Sound. 
 
 *Figures refer to corresponding paragraph numbers in the preceding story. 
 
CJ*r**sW> 
 
 Jun i mi 
 
 THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 4S11 44TH STREET. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
30 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 VIII. 
 MARRIAGE. 
 
 78. The real object of all the god's yearning (tho he did not know it at the time) was "to be- 
 come one" with something to merge his "self" with another self, and find repose. For years he had 
 been yearning for the things I have described, without attaining any lasting satisfaction. On the contra- 
 ry, the more he yearned for them the more restless he became, until at last a thotful man named Wagner 
 felt the god's great need, and undertook to satisfy his longing. But before I tell you what he did, I must 
 show how the gods and the people appeared to him, and how the needs of both. 
 
 79. For a long time the people had maintained that this merging of one's self into another 
 self is what is meant by marriage. And ever since the god who talked had learned to write, they had 
 been taught by the rulers and the keepers of the temples that every such marriage should be written 
 down, both in the library of the temple and in the office of the castle. There were various forceful rea- 
 sons for this, altho most people thot it merely a pretty custom. (The event was always made a holiday 
 for the people, and on that day, at least, everybody had enough to eat and to drink.) Among these rea- 
 sons was the feeling for the Family, which could be made permanent only by a careful registering of 
 what each person owned— particularly in the way of land. For a family's standing depended greatly on 
 whether it owned the land or merely worked upon it. The system of registering thus made possible the 
 passing on of property from parents to children thru successive generations. 
 
 80. Another forceful reason for the writing down of marriages was that all the women (how- 
 ever much the men insisted that the women should be better than themselves) were really slaves, and 
 the only way the men could prove their ownership of them was by securing from the temples written 
 "certificates" whereby all the world might read for themselves the fact. 
 
 81. All the gods, believing that the people's yearning was the most delightful part about them 
 (for in that the people were very like themselves), praised this marriage as a beautiful thing. This was 
 for the reason that it encouraged the people (whom the gods had made, and whom they wished to grow 
 as rapidly as possible) to yearn as much as possible— for trees, and homes, and most of all for one anoth- 
 er. Incidentally, the gods had come to know that only thus could the people help the gods themselves 
 to grow. 
 
 82. But for a long time the gods were as blind as every one else to the fact that under this 
 plan marriage was fast becoming an empty form. For anyone who wished to secure his property for his 
 children, or his wife for himself, had only to apply for the proper certificate from a priest or a prince. 
 (Most people secured theirs from both in order to be entirely sure). Thus the natural yearning for qual- 
 ities of beauty, truth, and justice bade fair to giving way to yearning merely for quantities of property. 
 Meanwhile all the yearning for quality in the world was held of little account unless the certificate were 
 obtained ; and so the world was full of people bound by life-long contracts never to yearn for anyone but 
 their partners, and yet in reality yearning hopelessly all the while. 
 
 83. So, at least it all appeared to Wagner, for he was taught by another thotful man, named 
 Bakunin, only to yearn for beauty, truth, and justice. Bakunin saw how the people suffered, from over- 
 work and under-nourishment ; how they loved and yearned in vain ; and he declared that all the yearning 
 in the world would develop neither gods nor people unless there were always a possibility of attaining 
 
 Copyright. 1917. by George Edwards 
 
31 
 
 the objects of desire, thus paving the way to new and worthier yearnings. Then he declared that all the 
 priests' and princes' boasts were vapor. That if for ages the people had not been taught from childhood 
 to believe these rulers' claims, they would have had no power ; and then their sanction would be worth- 
 less. Furthermore, he said that the gods themselves had been taught by the priests and princes as well 
 as by the working people, and that they (the gods) were duped as much as anybody by the narrow 
 teaching of the smaller class. 
 
 84. So Wagner wrote some operas which should accomplish at one stroke the two greatest 
 needs in the world— the yearning of the god of music, and the freedom of the working people. For the 
 first he did what nearly everybody does : the very thing he meant to preach against. He married the 
 god to all his brother and sister gods. But this was bad enough, for in order to maintain a little rift in 
 the strict securing of the land to single families, the priests and princes had decreed that no one should 
 marry his brother or his sister -scarcely even his cousin. Now Wagner had written an opera in which 
 the hero's father and mother were brother and sister, and so he thot that by marrying the gods to one 
 another the dictum of the people's teachers would be sufficiently scandalized. And it was, as the rest 
 of my story will show. 
 
 85. For the marriage the thotful man was sore beset for a fitting place. Naturally the priests 
 would not allow such a disgraceful marriage to take place within the temples, for they had ruled not 
 only that brothers and sisters should not marry, but that only one man and one woman should be mar- 
 ried during the period of a single contract. And this "social marriage" of all the gods together was sim- 
 ply not to be considered. Most of the princes, too, were of a like opinion, and they would have nothing 
 to do with such a scheme. Partly for this, and partly because Wagner helped Bakunin in a desperate 
 effort to free the people of his home from the tyrrany of the rulers, the princes banished Wagner to an- 
 other country ; and so for twelve years, one month, and twenty-one days he was not allowed to set his 
 foot upon his native land ; and for a time the thotful man, who loved the people and the gods so much, 
 despaired of ever being able to make them happy, either one. 
 
 86. Oddly enough he still believed in the princes, and toward the end of his life he wrote an 
 opera for which some accused him of believing even in the priests, and taking their side against the peo- 
 ple. However that may be, during the period of his exile he wrote a letter to his countrymen outlining 
 a plan for building a suitable structure in which to house the gods (for in his operas he had already mar- 
 ried them in spite of every opposition). He said the right kind of a home would cost a great deal of mon- 
 ey ; and that only a prince would be likely to care enough for the gods' happiness, and at the same time 
 have sufficient money, to put up the home. And he ended the letter with the words "Wird dieser Fiirst 
 sich finden ? " ("Will such a Prince be found ? ") 
 
 87. Just as in every sensible fairy-tale the Prince was found. He loved the gods and was 
 very glad that they were happily married. He did not care so much as Wagner did for the people; but 
 he loved the thotful man so much that he sent for him (as soon as the other princes agreed to let him 
 return to his native country) and gave him a beautiful home only ten minutes walk from his own castle 
 on the shores of a beautiful lake. And three times daily the King (for by now the Prince had become 
 the King) would send his finest carriage to the door of Wagner's home to bring him to the palace. And 
 Wagner loved the King as much, saying, "He is, alas ! so beautiful and intellectual, so sympathetic and 
 delightful, that I am afraid his life must fade away in this common world like a dream. He loves me 
 with the depth and ardor of first love ; he knows everything about myself, and understands me like my 
 own soul. He wants me to be with him always, to work, to rest, to produce my works ; he will give me 
 everything I need. I am to finish my operas and he will have them performed as I wish." Could any 
 fairy-tale be more satisfactory than this ? 
 
32 
 
 88. The god of Music was very pleased at this, for now at last he was to have a home equal 
 to those in which the priests and princes lived. But several years were to elapse before this happy event 
 was accomplished ; for many were envious of the thotful man's success, saying that the King's yearning 
 for the thotful man was a wicked yearning, and not according either to the rules of the priests nor the 
 laws of the princes ; and Wagner was forced to flee once more for his life. But the King sent him mon- 
 ey on which to live in his second exile, and in disguise he visited the thotful man in his pleasant home 
 by the shore of another lake, many miles away. 
 
 89. At last, however, the home for the gods was built (tho in another country than the King's, 
 for the people never forgave him for wanting to spend as much money on the gods as he did on temples 
 and castles). And the gods lived in peace and harmony together. Besides the god of music were the 
 girl who danced, the boy who talked, and all the others who drew and painted pictures, built houses, 
 made statues, etc. 
 
 90. And now that the marriage was complete, the priests and princes joined together to cele- 
 brate the same, saying "See how great a marriage we have made ! Only a mind that was born in our 
 country could have accomplished so great an event ! " And so distended was their pride that for a long 
 time afterwards they were ready even to go4o war to prove the value of the gods which they pretend- 
 ed they had made. 
 
 NOTES. 
 (for GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 *78. Edward Carpenter: The Drama of Love and Death, Love's Coming of Age, etc. (Mitchell Kennedy). 
 
 83. Bakunin : God and the State. Wagner : My Life. 
 
 84, 85. Wagner : The Ring of the Niebelung. Shaw : The Perfect Wagnerite. Wagner : Art and Revolution. 
 
 For the pros and cons of "inbreeding", by accepting which for the origin of Siegfried Wagner raised so great a storm, see 
 Clouston : Unsoundness of Mind, p. 72. 
 
 86. Nietszche : The Fall of Wagner. 
 
 86, 87. Finch : Wagner and His Works, vol. 2, p. 123, f. n. For other facts on the value of romantic friendship, see Car- 
 penter's Intermediate Sex. 
 
 90. The slogan of "Kultur" and the narrow conception of art as something exclusively German are familiar phenomena to 
 students of the present war. 
 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
Sv'w^'t^Za 
 
 k^*JjLSJLsd lAs\ cX< ' /J 
 
 JUL i.9 1917 
 
 THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 III. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 V. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 ■4311 44TH STREET. 
 
 
 SAN DIEGO. CALIFORNIA. 
 
 6 
 
 OP THE 
 UNI VE KSJT V 
 C OF 
 
34 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 IX. 
 DIVORCE. 
 
 91. Perhaps because the thotful man had not included them all ; or else for another reason, 
 which I shall presently tell you, there came a time when the marriage-bonds proved irksome to the gods. 
 For after Wagner died his wife became their keeper. She believed that all the gods were in the home, 
 and she determined that while, on certain conditions, the people might visit them, none of them should 
 go away from home but by her leave. As you may well imagine neither the people nor the gods approv- 
 ed of this, but for a long time there seemed nothing to do but let her have her way with them. 
 
 92. Now a thotful man named Nietzsche who (before the king) had loved Wagner nearly as 
 much as he, suddenly declared that for a long time Wagner had been making a mistake. That whereas 
 at first he had bade the people be strong and throw off the shackles of the priests and kings, toward the 
 last he had taught them to submit, "renounce", and the like. Furthermore that all his marriage of the 
 gods together had accomplished was to render them more slavish than they had ever been before. He 
 bade the gods be "super"-men : strong and beautiful ; and full of "holy laughter": 
 
 93. Other thotful men named Brahms, Bruckner, Reger and others, advised the god of Music 
 to leave his home— by force or strategy if necessary— and go back to the Prince who originally carried 
 him away to his castle in the wilderness ; there to write ever longer pieces with which to entertain the 
 Prince's guests. Others, named Franck, Saint Saens, d'Indy, advised him to go back even to the temple 
 where he had learned to write. Another named Grieg, and still another named Mac Dowell (who lived 
 beyond the seas, in America) thot he should return but to his former life before his marriage and live 
 again in the fields and woods, with the flowers, birds and animals, making love-songs of various kinds ; 
 and dwell once'more among the people. 
 
 94. But this last he could not see his way to do for the reason that by now the largest number 
 of the people had ceased to sing. And what is more, they were no longer in the woods and fields as for- 
 merly. Then they had been poor and frequently unhappy; but they always had fresh air, and frequently 
 could take the time to commune with Mother Earth. But this was so no longer. They had become yet 
 poorer and unhappier ; and had left the fields and woods to live in crowded misery in narrow rooms and 
 cellars. And this was thru the simple device of inventing machines to save their labor ! Now they 
 could do nothing but attend machines for many hours a dav, or else wander aimlessly about despised 
 and rejected of men, for the reason that they could not get "work". (What they really meant was "mon- 
 ey" ; but the owners of the land and of the machines told them that they did not want to work, and most 
 of them believed that they had only to get work in order to have sufficient money.) 
 
 95. However, everybody agreed that the gods should be divorced. The question where they 
 should go could be determined later. One by one they slipped away from the beautiful home built for 
 them by Wagner and the King, and went to dwell in various places. After this, however, they were 
 more often than before to be seen in threes and couples. For instance, the girl who danced and the god 
 of music were often seen together playing the most intricate and elaborate games. They had been seen 
 absorbed in these particularly in Russia. In these plays they frequently told stories which were under- 
 
 Copyright, 1917, by George Edwards 
 
35 
 
 stood by everyone merely by the gestures of her body and the intricate attitudes of his music. For every 
 day the god had gained, thru all these strange adventures, complexity of bony structure, flexibility of 
 flesh, variety of strength, and beauty of vestment. 
 
 96. But most often he was seen in company with the boy who talked. Many maintained that 
 these two at least should never again be separated, but should experience all their future adventures to- 
 gether as loyal and affectionate comrades. This was probably because the boy had now developed far 
 ahead of him, and could teach him many things about himself. He, too, had lived much of his life with- 
 in the temples. He, too, had dwelt with the Prince, and had entertained the Prince's guests. And he, as 
 well as Music, had experienced the love of Mother Earth, and had written lovingly not only of the ani- 
 mals but of the people. 
 
 97. But earlier than Music he discovered that it was the people who had made him. He some- 
 times said quite openly that the claims of priests and princes both to having produced him were fabri- 
 cations. And at times he wondered if the thing to do next, which would serve the double purpose of giv- 
 ing him something new to write about and at the same time give him greatest pleasure, would not be to 
 devote himself to freeing the people, all, from their unfortunate servitude? "For", he one day said, "since 
 we are nearly grown, is there anything left for us to do but play with the people and make them as hap- 
 py as possible ? But this we cannot do at present except with very few, for most of them are in perpet- 
 ual bondage to the machines and to the land, and have no time ; nor do they know quite how to play 
 with us even if they had the time. 
 
 98. This philosophy was taught him by such thotful men as Shelley, Ibsen, Hauptmann, Shaw, 
 Galsworthy, Moore, and many others. And as by this time the gods had come to know each other very 
 well, and love each other very much, it is not strange the god who talked (whose name was Poetry) 
 could influence Music to acknowledge at last that it was the people who had really made him, the com- 
 mon ordinary people, not the princes nor the priests ; and set him wishing he also might do something 
 to relieve them from their endless suffering. For if he could, then they would have time to play with 
 him, and all the necessary opportunity to learn how to play if they did not already know. Children 
 who have never had the time to play, nor materials to use with which to represent still other things (for 
 this is the essence of play, as well as the stuff of all the gods) really do not know how to play when once 
 both the material and the time together are left to them. 
 
 99. He could not even set about this all at once, however, for all his habits clung to him. In 
 the temple he had been taught to yearn for a Universal Father and the one great Absolute, instead of 
 for the many simple people. In the Prince's castle he had learned to yearn for Pleasure. But the pleas- 
 ure that was meant was for the few who had sufficient leisure, not for the many in the fields and in the 
 shops. But at least he made a logical beginning. The two gods put their heads together and selected 
 a thotful man named Wilde and another whose name was Strauss to make an opera. Both these men 
 they knew were well aware of the people's dire distress, but the play they took was not one in which the 
 people's need was emphasized. It was instead a story which the god of Poetry had learned when he 
 lived within the temple. Its name was Salome. 
 
 100. So they tried again. Another thotful man whose name was Maeterlinck had written a 
 story of the people in which he compared them to the bees, showing clearly forth the overwhelming 
 value of the working bees and working people. But again they forgot to examine the play to see if it 
 would do, for knowing Maeterlinck's love for the people so well, they assumed that everything he wrote 
 must image that. And when they had a thotful man named Debussy write the music, they found they 
 
36 
 
 were still as far from their object as ever before. But both Strauss and Debussy had added many pieces 
 of important texture to the organism of the god of music, and now that he was freed from formal mar- 
 riage, he bade fair to become as fully matured as his brother within a very short time. 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 92.* Nietzsche : The Case of Wagner, Beyond Good and Evil, etc. 
 
 94. Veblen : The Theory of a Leisure Class. Henry George : Progress and Poverty. 
 
 95. VanVechten : The Russian Ballet (in Music After the Great War.) 
 
 96. Niecks: Program Music. Glyn : The Rythmic Conception of Music (chap. "Association of Ideas") ; Evolution of Musi- 
 cal Form (chap. "Music and Language.") 
 
 98. Shelley : Prometheus Unbound. Ibsen : An Enemy of the People, etc. Hauptmann : The Weavers, etc. Galsworthy : 
 Justice, The Freelands, etc. Moore : Hail and Farewell, The Brook Kerilh, etc. 
 
 99. Tolstoi: What Is Art? Wilde: The Soul of Man Under Socialism, Intentions, etc. 
 100. Maeterlinck : The Life Of The Bee, The Blind. Debussy : Pelleas and Melisande. 
 
NOV 7 iau 
 
 OF THE 
 UNIVERSITY 
 
 THE GOD WHO MADE HIMSELF 
 
 I. 
 
 THE GOD WHO DID NOT EXIST 
 
 II. 
 
 HOW THE GOD WAS BORN 
 
 m. 
 
 HIS RELATIVES 
 
 IV. 
 
 HOW HE CLOTHED HIMSELF 
 
 v. 
 
 HOW HE LEARNED TO WRITE 
 
 VI. 
 
 HOW THE GOD AMUSED HIMSELF 
 
 VII. 
 
 ADOLESCENCE 
 
 VIII. 
 
 MARRIAGE 
 
 IX. 
 
 DIVORCE 
 
 X. 
 
 THE GOD'S PHILOSOPHY 
 
 XI. 
 
 To be 
 
 THE SOCIAL REVOLUTIONIST 
 
 issued serially. Cover, 10 cents. Each part, 10 cents. 
 
 
 Subscription complete, in advance, one dollar. 
 
 PUBLISHED BY 
 
 
 OSWALD C. COFFMAN. 
 
 
 BOX 223. 
 
 
 LA JOLLA. CALIFORNIA. 
 
38 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 X. 
 THE GOD'S PHILOSOPHY. 
 
 101. Meanwhile the writers of songs and the makers of "symphonic poems" were doing all 
 they could to set to music the ideas of authors who had joined the great movement. "The Joy of Living" 
 was their one great theme. Eut to the masses of the people (if they ever heard the music) all these 
 pieces were but mockery ; for they had no access to the means of living, even if they had the necessary 
 time in which to enjoy themselves. And so at last the god of Music set about his task in earnest. 
 
 102. First of all he stopped to consider what were the ways in which he was likely to grow. 
 A thotful woman had established the fact that all the elements of Music had come to life in the songs of 
 the people. This we have already seen. But she claimed that the most important part of his being was 
 his skeleton, and that later on more complexity than ever was to enter into his bones. Already Music 
 was feeling the effect of this, but he knew that he must prepare to grow much further in this direction. 
 Another thotful man named Grainger held that even the beats, which hitherto had been the standard of 
 measurement for all his bones, should be abandoned. But so far he had never seen that experiment tried. 
 
 103. Thotful men and women had been experimenting with his flesh, as well. This was also 
 very complex, for it had long since ceased to consist merely of seven-tone scales, but had grown to those 
 of twelve. Even these were felt by some to be limited. A thotful man named Schoenberg experiment- 
 ed with his flesh, and of him another thotful man once wrote : "His mission is to free harmony from all 
 rules. With Schoenberg freedom in modulation is not only permissible, but is an iron rule ; he is obsess- 
 ed by the theory of overtones, and his music is not only horizontally and vertically planned, but so I pre- 
 tend to hear, also in a circular fashion. There is no such thing as consonance and dissonance, only im- 
 perfect training of the ear." But, "he is never petty. He sins in the grand manner of Nietzsche's Su- 
 perman, and he has the courage of his chromatics. ... He boils down the classic form to one move- 
 ment, and begins developing his idea (motive?) as soon as it is announced." Another innovator named 
 Busoni even complained that flesh composed of twelve-tone scales was not fine enough ; and argued for 
 "quarter-steps" and "third-steps" to fill up the gaps in the ordinary chromatic system. 
 
 104. Finally a thotful man named vanVechten fired the biggest cannon of all. He declared 
 that the god had lived too long in Germany. That people had become so accustomed to think of him as 
 a German god that they were in danger of forgetting that he was a god who came to save the world, and 
 all of its people. That "development" from little pieces was not the way his flesh should be composed. 
 (In Germany the god had learned to think that such development was the highest possible standard for 
 his flesh). Furthermore he said that after the "Great War" the god was going anyway immediately to 
 Russia, where academic development was looked upon with disapproval ; and where the thotful people 
 were experimenting with flesh for the god of an entirely new texture, — more spontaneous, more melodi- 
 ous, and at the same time much more complicated in the large relation of all the parts to the whole of a 
 piece. That some of these experimenters were the greatest innovators of them all. Their names were 
 Moussorgsky (who had lived at the time the gods were married, but whose pieces were only just begin- 
 ning to be added to the body of the god), Rimsky-Korsikoff, Strawinsky, and others. 
 
 Copyright, 1917. by George Edwards 
 
39 
 
 105. Meanwhile the variety of the god's strength had grown enormously. This element of 
 his growth was not so much talked and written about, but certain it was that contrasts of very loud and 
 very soft (in the new pieces which were being added to his body), had continued to grow in perfect bal- 
 ance with his bones and flesh. His songs would now include every shade of intensity from the faintest 
 whisper to the most deafening, if not ear-splitting, blasts and blares. 
 
 106. Just as remarkable, too, was the growth of his wardrobe. Many experimenters were at 
 work upon this element of his development. The thotful man named Strauss had gone the furthest in 
 this field of anybody — at least in some opinions ; and he had even revised the leading book upon the 
 wardrobe of the god, bringing it up to date— and even beyond — with such amazing and daring ideas of 
 color-combination, that it was difficult for many people to take him seriously. But the Russians were 
 just as busy in another way preparing for the god's reception at the close of the "Great War". They did 
 not so much talk about as put into practice the ideas of color that were in the air among thinking Rus- 
 sians. While many thot these costumes would appear to the god more odd than beautiful, others thot 
 to the contrary ; and the god, when he heard of these opinions, determined not to make up his mind with 
 regard to them in advance, but to try them all on his body; and then, by watching the people's reactions 
 to them, decide by that means which should be his regular costumes. 
 
 107. On the side of Ideas, as well, he thot of what his growth was likely to consist. The 
 thotful man named Strauss had posed the question, "Why cannot music express philosophy ? Meta- 
 physics and music are sister and brother." (This statement of relationship seemed startling at the first, 
 but manv thotful men had long before decided that metaphysics is much more an art than a science.) 
 "Even in music one can express a viewpoint, and if one wishes to approach the Riddle of the Universe, 
 perhaps it can best be done with the aid of music." And immediately he composed a piece for the god's 
 body which should contain the ideas of the thotful man named Nietzsche. And many thot that this was 
 his most successful gift. 
 
 108. The god was much impressed by this, and he determined that his life should no longer 
 consist alone of motives and development, to which anyone could supply whatever ideas they pleased 
 and thus distort at times his meaning. For this had especially pained him when he saw his pieces dis- 
 torted for the further enslavement of the people— the very Hero which he most yearned to liberate. 
 For the priests and the princes both were still in the habit of claiming him for their own on account of 
 his tremendous influence over the hearts of the people. And every piece that had no title by which to 
 announce its meaning, was claimed by one or the other group, or both, (for they often planned together), 
 to mean that the god was still of the opinion that they were the most important classes in the world, 
 that they had made him, and that they had most contributed to his later growth. 
 
 109. This power of his over the people was his greatest asset ; and lately he had come to re- 
 alize it, as well as that the people had both brought him into life and caused him to grow up. The 
 growth of the people was (because of gratitude), his chief concern. He noticed that the people grew in 
 happiness in proportion as the inventions of the scientific men among them were converted by the art- 
 ists into forms fitted to instruct and liberate the people as a whole. Long before this a thotful man 
 named Goethe had spoken of art as "the great liberator". And some had referred to the god of Music 
 as the greatest god of all. People who invented heavens could think of nothing so perfectly fitted to 
 characterize the "highest" heaven of them all as music. One of the best of these inventions was made 
 by a thotful woman named Olive Schreiner, and frankly called a "Dream". Even exact and practical 
 statements of Music's worth were made by thotful men who were chiefly known for their love of the 
 god of Poetry Poe and Pater. They declared that "all art is great in proportion as it approaches the 
 
42 
 
 THE GOD WHO MADE HIMSELF 
 
 BY 
 
 George Edwards 
 
 XL 
 THE SOCIAL REVOLUTIONIST. 
 
 110. As I have suggested, the god cordially welcomed all the experiments upon his body. He 
 co-operated with those who were adding pieces in which his bones appeared more complex. He set to 
 work on his own account to add some new texture to his flesh, by making pieces in which the quarter- 
 steps were introduced. These he made at first of violin color, for instruments with keys were formed on 
 the half-step principle, and permitted no such juggling with their rfgidly "punctuated" scale. He intro- 
 duced the new tones carefully, however, taking hints from the use of them in the pieces contributed to 
 his body by the people of the Far East. (There were many of these pieces, but since he had lived so 
 much in Germany, many refused to admit that these pieces sent from India really fitted into his body. 
 And the god was influenced, as on so many occasions, by the general opinion.) The places where he 
 first introduced the quarter-steps were the same as those in which the half-steps had first appeared, 
 namely, below doh (from which his flesh had developed in the first place), and above me, (which also had 
 appeared in the very beginning of his life). This procedure made smoother and finer endings to his 
 pieces than ever before. Later on he introduced them in various parts of his scale in the manner in 
 which the other half-steps had next appeared, as modulations and sequences, to use the words invented 
 by biologists of Music. 
 
 111. And he looked upon his work and saw that it was good. But whether all his flesh 
 would come to grow like that he could not yet be sure. We grow but as we may, not always as we will. 
 But he did not really care much how he should grow if only it would be in such a way as to be of assist- 
 ance in the freeing of the people. And more and more he leaned upon his brother for help to show him 
 the way to accomplish this great object. 
 
 112. In certain ways he was himself able to be of assistance to his brother. He pointed out 
 to Poetry that in all the latter's works the people as a whole had never been the hero of his pieces— only 
 individual men, women, children, animals, plants, etc.; who, in spite of all his efforts to make them typi- 
 cal of other members of the race, and especially of all mankind, the people insisted always on treating 
 them as special individuals who had no great connection with themselves. This was because in the 
 pieces of the god Poetry, the author was compelled to describe the places and the situations in the midst 
 of which his heroes lived; and these places and situations, being always at least a little different to the 
 ones in which most of the people lived, they thot the heroes' acts were not to be taken as models for 
 their own. Thus the efforts of the god to influence the people to free them from their over-work were 
 neutralized, and sometimes lost entirely. And so the god of Music prevailed upon the other to make a 
 poem in which the people as a whole should be the hero— promising to set the piece to music- and they did. 
 
 113. He could not make up his mind whether to go on with the opera form or not. His mar- 
 riage, he thot, had not been over successful, and whether it ever could be happy he somewhat doubted. 
 But he experimented with operas, too, introducing even speech with music, and choosing subjects fre- 
 quently as far away as Peru and South Africa. But the only thotful men whom he could get to help him 
 in this work had no very great interest in the struggle of the people. They usually insisted on selecting 
 
 Copyright, 1917. by George Edwards 
 
43 
 
 poems describing the difficulties lovers have with the marriage system, and ending with the moral that the 
 contract of the priests and princes in matters of yearning should never be questioned ; or else extolling 
 the value of the local government (whichever it happened to be in which the thotful man resided), thus 
 influencing the people to think they were already saved and free. It was astonishing to the god at times 
 to see how easily the people could be made to believe they were already free ; even when the shackles 
 on their hands and feet betrayed their wretched condition at every move. This method of the opera 
 writers greatly troubled him, and only occasionally did he take heart at the thot that some day maybe 
 thotful women might take up this form of creating music ; and it might be then, he said, that Ideas of 
 Freedom would be chosen as the subjects of their pieces. For he noted with great pleasure the yearn- 
 ing for freedom which was growing up among the women. It is true the men had never been free, but 
 always had the women been less free than they. 
 
 114. From these reflections upon freedom, he soon realized that the people for the most part 
 did not know the meaning of the word. There had been endless discussions among them about "the 
 freedom of the will", but he knew by this time that at least on one side this was an impossible ideal. 
 The will, like everything else, is formed inevitably by the past experience of the wilier. The only place 
 the term can possibly apply is in the forward sense the freedom of this inevitably-conditioned will to 
 express itself in material products. 
 
 115. But here he saw again that the slavery of the people meant most of the avenues for such 
 material expression were closed to the people by the "masters" in one way or another, with the result 
 that those who were free from poverty usually did not know how to will with the greatest possible advan- 
 tage. Furthermore, as most of the people had less than enough to live upon, they were not free to will 
 at all, but could only react (like the machines they mostly served) to the most compelling necessity. 
 
 116. What then should be his message, the subject matter of his next pieces? From all these 
 observations he decided that the greatest problems are never personal, but social. He declared that it 
 was remarkable how nobly people sometimes act under the influence of the social institutions the 
 churches, laws, customs of marriage, and above all the system of private monopoly in the resources of 
 their Mother Earth. That what individuals do should be solely a matter of taste (tho they should be en- 
 couraged to form as "high" a taste as possible), and of technical control of the common environment. 
 That personal acts are valuable in proportion as they assist the scientific and artistic control of environ- 
 ment to the end of freeing to the people all the resources of the earth, and the use of them in accord- 
 ance with the highest taste. He went so far as to say that the social institutions were all grouped un- 
 der the head of Special Privilege, and consisted of all the materials for happy living which are held out 
 of use by the few, while the many die for lack of them. That all the laws of land, labor, and of many 
 other things are what is meant by Social Sin. 
 
 117. But how to influence the social institutions? "I will gain as much publicity as I can," he 
 thot, "The people love me, and I will sing wherever I may, The newspapers (which are the real gov- 
 ernment of the people, censoring facts ; determining the people's opinions, and therefore their acts), shall 
 give me daily a trifle more space. I will ask the god who talks to help me there." 
 
 118. "But how to convince the people that what I sing to them is best, rather than what the 
 newspapers give them ?" For a long time he studied this question", and at last came to the conclusion 
 that given sufficient notoriety to become familiar to the people, he would prove to them that he had 
 technical control not only of the materials of his body, but of the facts of biology, psychology, sociology, 
 and other sciences as well. That science, when true to its mission, is to know the people for the pur- 
 pose of freeing to them the comforts, beauty, love; in short the whole, of life. That in a high sense art 
 
AA r 3 c 
 
 and science are one ; and both go to make up the structure of the gods. 
 
 119. Out of all this thot appeared one day a standard by which all the people (and the gods 
 themselves) might judge the value of any pieces offered in the future for the further growth of the gods: 
 The pieces should reveal a "perfect balance" of the factors Truth, Beauty, and Justice ! There was no 
 apparent leading up to this revelation. It simply came. And then he preached a sermon. 
 
 120. "Truth," he said, "from the newly won social point of view, consists not merely in per- 
 sonally 'telling the truth'. In a society whose institutions are all based on mistakes, frequently nothing 
 could be more fatal to the individual. The truth with which the great art-work is concerned is that 
 which conquers the superstitions of the people by revealing to them broadcast the liberating facts of all 
 the sciences. 
 
 121. "Beauty has been sufficiently analyzed." Here he smiled a knowing smile, for he was 
 thinking of the pleasure-theories developed in the Prince's castle, and the "perfect harmony" theories 
 running rampant thru the newest temples of them all. "But one point here I mean to emphasize more 
 than has been done before. That is the large and growing proportion of ugliness entering into the evo- 
 lution of esthetic standards. In other words, pure, or simple beauty is inconceivable except, perhaps, to 
 savages. The greater the cultivation of percipients, the larger the proportion of dissonance is required 
 in works of art to offset the feeling of obviousness contained in unrelieved standards of consonance. In 
 this evolution of standards, whether in the race or in the individual, a point is reached where all ugli- 
 ness is relatively beautiful. 'No object is so foul,' says Emerson, 'that intense light does not make it 
 fair'. " The people crowded closer to the god. 
 
 123. "Justice, finally," he said, "in this my new standard, refers not merely to individuals 
 tried in courts." Here his eyes flashed. "It is rather as if the courts themselves were tried. I doubt if 
 any broader image of justice has ever been made than Plato's : of society being 'the individual writ large ;' 
 and justice obtaining 'when the members can perform their natural function in relation to the whole, 
 iust as easily and unconsciously as do the organs in a healthy body.' " At this point he raised his voice, 
 speaking very slowly to the end : 
 
 124. Truth, beauty, justice, then, these three, shall be my standard for the future work of art." 
 He spoke impressively, and all the people raised their heads as they beheld the vision of their future 
 freedom. Then suddenly he finished, and his closing words were in the rythm of a teacher whom he 
 had studied in the temples— "A nd the greatest of these is justice I" 
 
 NOTES. 
 
 (FOR GROWN UPS.) 
 
 SYLLABUS OF A PSYCHOLOGY OF MUSIC. 
 
 110.* Glyn : Evolution of Musical Form : Chap : "Asiatic Tonality. " 
 
 112. Edwards : Melolog, op. 15, The Mill. (Ms.) 
 
 116. Puffer : The Psychology of Beauty : Chap ; The Beauty of Ideas. 
 
 118. Tolstoi : What is Art? 
 
 119. The valuation of ideas is the highest step which formal psychology has taken, and with the step it joins hands with 
 Philosophy. What ideas are most worth while*? Are ideas that seem valuable to individuals always valuable to the race ? Are 
 those prized for their social value always good for individuals ? These are some of the questions the bewildering subject of valu- 
 ation raises. My own conclusions are suggested in the god's meditation and closing speech, but a vast literature on valuation 
 (new tho the subject is) has already arisen to which the student may refer if he desires a different conclusion. Some of the 
 leading works are Anderson's Social Values, Munsterberg's The Eternal Values, Urban's Valuation : Its Nature and Laws. 
 
 123. Plato : The Republic. 
 
 ♦Figures refer to corresponding paragraph numbers in the preceding story. 
 
MUSIC 
 
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