for example, in the dictum of music being a means to the dramatic
end--he treats it with scorn, as something too obvious to be stated.
In either case its chances of gaining the reader's attention are
seriously diminished by such wrong method. A student who should
undertake the task of ordering his thought would need to possess, in
addition to the highest musical and dramatic qualifications a
metaphysical habit of mind such as is rare at the present day, and a
sympathetic capacity for discerning the grains of golden truth amidst
the dross. He must construct anew. Wagner's theoretical edifice will
not stand as it is; it is too loosely jointed; but the materials are
valuable. That there will ever be a real science of aesthetics I do
not believe; art would cease to be art if it lost its mystery. For the
present at least we must be content to remain in darkness as to the
precise conditions of musical expression, and eschew theory. That
music does reveal the nature of things in a way different from words
can scarcely be questioned. So, too, does all nature through its
silent music reveal more than meets the senses. But we cannot say
exactly how or why. Enough that the divine reason whereby the world is
fashioned is not the same as our human reason, and will not be forced
into its forms.


NOTES

I

LUDWIG II. AND WAGNER

Although I have no intention of defending the extravagances of the
Wittelsbach kings and may say at once that my sympathies are entirely