work.]

Such has been the response of the public through its literature to the
man who expressly did not wish to be worshipped, but only to be
understood. Assuredly there is yet plenty of room for good work to be
done! The purpose of the following pages is criticism, not as judging,
but as selecting. In choosing certain characteristics to show them in
a different perspective from an altered point of view the critic may
hope to help others to a better understanding of the art. I have
endeavoured to do this for English readers in respect of Wagner's
dramatic works through one of the most characteristic and
representative of them. The problem resolves itself into two. First
there is the general technical one, so fully treated by Wagner himself
in his theoretical writings, whether music is capable of being used as
a means of dramatic expression; and secondly, how far the endeavour
has been successful in the particular work selected for illustration.
To treat these problems satisfactorily it will be necessary for me to
go far beyond the limits of music and dramatic art, and to enter
rather fully into questions of psychology and metaphysics, which I
fear may discourage some readers, but which cannot be shirked by those
who wish to form a judgment based upon a more solid foundation than
their own personal taste. The mistake made by nearly all writers on
Wagner hitherto has been to suppose that the mere assertion of an
individual opinion has any value at all, however illustrious the
person who holds it, however able his exposition. Of what use can be
the assertion that a certain progression of chords is acceptable and
pleasing to the healthy ear (even with the usual addition that all who
do not think so are blockheads), when some other person equally
competent asserts the contrary? Or how am I to persuade my readers
that _Tristan und Isolde_ is what I hold it to be, the loftiest