Yet if the question of musical value seems quite unavoidable when this line of inquiry is prolonged, the dramatic reversal we associate with the Russian Formalists is always possible: content of that kind (a new kind of passion, a new universal revolutionary ideology and enthusiasm, etc.) is itself the result of formal innovation. It is because the music of a given period is able to express new kinds of content that this last begins to emerge-a position which, translated back into linguistics, would yield a peculiar version of the Sapir-Whorfhypothesis. It is because language happens historically and culturally to be expanded in certain ways that we are able to think (and speak) this or that new thought.