startling exception to the nearly universal rule; but he is no
exception. The theatre was his first love, and to the theatre he ever
remained faithful: only through the theatre did his genius manifest
itself; apart from the theatre it may be doubted whether he could have
developed into the consummate technical musician of _Tristan_ and the
_Mastersingers_. Music was his second love, music associated with
drama; and throughout his long career we find him engaged, first, in
getting his drama true, poignant and effective, and then in allying it
with music. Third in his affections came philosophy; and at this time
of day it need scarcely be remarked that he always considered himself
a bit of a philosopher, and toyed to the last with philosophy and
pseudo-philosophy. Reams of good paper and gallons of good ink have
been used in writing about the musician, the composer of the most
magnificent operas in the world; weeks, months, years have gone to the
writing. But all the paper, all the ink, all the labour, all the
mental effort and sympathy and love seem a bagatelle when we look
through the bibliographies and realize how much paper, ink,
effort--not always to be called mental--sympathy and love have been
used up in expounding Wagner's philosophy. The cases of Whitman and
Browning make a poor show compared with this case. I believe there are
still some human beings who turn for guidance to Wagner the
philosopher. Later I shall be compelled to say something about the
subject. What Wagner's docile apostles say does not greatly matter--in
fact, does not matter at all; what Wagner said does demand a little
consideration; and we must bear in mind that philosophy and
pseudo-philosophy supplied him with the stuff out of which he wove the
word-tissue of his dramas.


II