Wagnerism and turned

that, having acquired the habit

of recognising labels,
practical people tend to lose the power of feeling emotion; and, as
the only way of getting at the thing in itself is by feeling its
emotional significance, they soon begin to lose their sense of
reality. Mr. Roger Fry has pointed out that few can hope ever to see a
charging bull as an end in itself and yield

themselves to the emotional
significance of its forms, because no sooner is

the label "Charging Bull" recognised than we begin to dispose
ourselves
for flight rather than contemplation.[5] This is where the
habit of recognising labels serves us well. It serves us ill,
however, when, although there is no call for action or hurry, it comes
between things and our emotional reaction to them. The label is
nothing but a symbol that epitomises for busy humanity the
significance of things regarded as "means." A practical person goes
into a room where there are chairs, tables, sofas, a hearth-rug
and a mantel-piece. Of each he takes note intellectually,
and if he wants to set himself down or set down
a cup, he will know all he needs to know for his purpose. The label
tells him just those facts that serve

his practical ends; of the thing itself that lurks behind the label
nothing is said. Artists, _qua_ artists, are not
concerned with labels. They are concerned with

things only as means to a particular kind of emotion, which is the
same as saying that they are only concerned with things

perceived as ends in themselves; for it is only when things
are _perceived_ as ends that they _become_ means to this emotion. It
is only when we cease to regard the objects in a landscape
as means to anything that we can feel the landscape artistically.
But when we do succeed in regarding the parts of a landscape as ends
in themselves