I mention these incidents because I think they help to disprove the notion that modern music has less power over the actions and feelings of men than primitive and ancient music. It was the wild enthusiasm inspired in me by Wagner's earlier operas that led me irresistibly to Bayreuth, and I really would have been willing to toil as a slave for years rather than miss this festival. And my experience was that of hundreds who had saved up their pennies for this occasion, or had formed pools and drawn lots if the sum was too small. I met three men in Bayreuth who had scraped together enough money for a third-class 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 utterly mars the purity of the musical sound, and jars on refined ears like the filing of a saw. If demonstrativeness is to be taken as a test of feeling, then the ignorant audiences who stamp and roar over the vulgar horse-play in a variety show have deeper feelings than the educated reader who, in his room, enjoys the exquisite works of humor of the great writers without any other expression than a smile.