trip from Berlin, but not enough to pay for a complete Nibelung ticket
for each. So they took turns and each heard his share of the Trilogy.
The artists, moreover, the greatest in Germany, were prompted by their
enthusiasm to give their services at this festival without any
pecuniary compensation. Such actions are more eloquent of deep feeling
than any words could be. How trivial are those ancient _myths_ about
Arion and Orpheus compared with this modern _fact_--the building of
the Bayreuth Theatre with the million marks contributed by Wagner's
admirers in all parts of the world!

It is easy to see how Prof. Hanslick fell into the error of imagining
that music exerts its greatest influence on savages. He probably
inferred this from the fact that savages are more obviously excited by
it, and gesticulate more wildly, than we do. But this does not prove
his point. Savages are more _demonstrative_ in their expression of
_all_ their emotions than we are; but this does not indicate that
their emotions are _deeper_. On the contrary, as the poet has told us,
it is the shallow brooks and the shallow passions that murmur; "the
deep are dumb." It is a rule of etiquette in civilized society to
repress any extravagant demonstration of feeling by gestures; and this
is the reason why we are apparently less affected by music than
savages. Yet, how difficult it is even to-day to repress the muscular
impulses imparted by gay music, is seen in the irresistible desire to
dance which seizes us when we hear a Strauss waltz played with the
true Viennese swing; and in the provoking habit which some people have
of beating time with their feet. Would anyone assert that a man who
thus loudly beats time with his boots is more deeply affected by the
music than you or I who keep quiet? Fiddlesticks! He shows just the
contrary. If he had as delicate and intense an appreciation of the
music as you have, he would know that the noise made by his boots