count the black and white keys of the keyboard, measure the relative lengths of the strings, the strength, velocity and order of sequence in the movements of fingers, and triumphantly assert that this is Beethoven's Sonata. Not only so, we can predict the accurate production of the same sonata wherever and whenever our experiment is repeated according to those observations. By constantly dealing with the sonata from this point of view we may forget that both in its origin and object dwells the personality of man, and however accurate and orderly may be the facts of the interactions of the fingers and strings they do not comprehend the ultimate reality of the music.
A game is a game where there is a player to play it. Of course, there is a law of the game which it is of use to us to analyse and to master. But if it be asserted that in this law is its reality, then we cannot accept it. For the game is what it is to the players. The game changes its aspects according to the personality of its players: for some its end is the lust of gain, in others that of applause; some find in it the means for whiling away time and some the means for satisfying their social instinct, and
