The subject of criticism has again been raised by a correspondent who in yesterday's issue attacked the musical critic of this journal. Two other correspondents deal with the writer of that epistle in short order today, and there remains little to be added to the subject. Save perhaps this;—it is a poor sort of argument that because someone disagrees with another he must of necessity be a fool, or incompetent. This is all the truer in connection with- the application of criticism to the arts, and perhaps, in no case are opinions likely to be more bigotted than on the subject of music. There are undoubtedly large numbers of people who thoroughly enjoy the Sunday concerts given by the Municipal Orchestra. Amongst them is a number which obviously believes that that capable body of musicians can do no wrong. There are on the other hand people who are not quite so slavish in their admiration, and the musical critic who has been attacked is one of them. That he writes with an adequate knowledge of his subject must be apparent to all who read his comments, as well as being known to local artists whose opinion of his ability is high. Shanghai is becoming year by year a larger city, and its newspapers are more and more required to serve the public by informing them of the quality of the various amusements which are being offered for their delectation. The Municipal Orchestra is not a body of amateurs, but of professionals, who must be prepared zt all times to accept criticism. It would indeed be a marvel if the orchestra were at all times perfect; that would imply the possession of almas: inhuman qualities, and if their efforts are not criticized when it is deserved the degree of complacency thus likely to be induced would in the end lead to a deterioration of their work. It is interesting to note that with regard to the critic's views of the pe:{orrancf on Sunday they receive support from a writer in a local contemporary.
Text read from the printed page and cleaned; old type leaves the occasional error.