His poet was Blake. His playwright Strindberg, a man of distinct promise--fortunately dead. Of novelists he accepted Dostoievsky. Who else was there? Who else that had gone outside the range of normal, stupid, rational humanity, and shown the marvellous qualities of the human creature drunk or dreaming? Who else who had so arranged his scenery that from beginning to end one need never witness the dull shapes and colours of human life quite unracked by nightmare? It was in nightmare only that the human spirit revealed its possibilities. In truth, he had a great respect for nightmare, even in its milder forms, the respect of one who felt that it was the only thing which an ordinary sane man could not achieve in his waking moments. He so hated the ordinary sane man, with his extraordinary lack of appreciative faculty. In his artistic tastes he was paulo-post-futurist, and the painter he had elected to admire was one that no one had yet heard of. He meant, however, that they should hear of him when the moment came. With the arrival of that one would begin a new era of art, for which in the past there would be no parallel, save possibly one Chinese period long before that of which the pundits--poor devils--so blatantly bleated. He was a connoisseur of music, and nothing gave him greater pain than a tune. Of all the ancients he recognised Bach alone, and only in his fugues. Wagner was considerable in places. Strauss and Debussy, well--yes, but now _vieux jeu_. There was an Esquimaux. His name? No, let them wait! That fellow was something. Let them mark his words, and wait! It was for this kind of enlightenment of the world that he most ardently desired his own arrival, without which he sometimes thought he could no longer bear things as they were, no longer go on watching his chariot unhitched to a star, trailing the mud of this musty, muddled world, whose ethics even, those paltry wrappings of the human soul, were uncongenial to him.