The Music of Hindostan c3.10

c3.10

It would be sanguine to hope that the book could be free from errors both of fact and of proportion. To sift discrepant statements and to get the main features into the proper perspective would have demanded a longer sojourn than twelve months. If it is comparatively free from minor blemishes this is due to the kindness of several who have read the proofs—to Dr. Coomaraswamy for Chapters I and II, also for several illustrations; to Mr. Abdy Williams for Chapter VIII; to Mr. Walter Ford and Mr. E. D. Rendall for some musical illustrations and suggestions; to Dr. A. A. Macdonell, Dr. L. D. Barnett, Mr. F. W. Thomas, Dr. Felber of Vienna, and Dr. Simon of Munich for Chapter X; and to the readers of the Clarendon Press for their very careful supervision of the whole. Grateful acknowledgement is also made to Mr. William Rothenstein for the loan of the copyright of his portrait of Rabindranath Tagore (see p. 92). It was decided to include this portrait before the poet’s name was known to Europe; and now, although the need of making it known no longer exists, the portrait is still retained as the frontispiece. The appearance there of one who, more than any other, may be said to personify Indian music in its broadest sense, may serve to remind us of what is surely the truth, that music does not reside in those designs and devices which can be imprisoned in symbols and committed to paper, but that it comes and goes only upon the lips or the fingers of men who are able to feel it or to create it.