It is evident, then, that this curiously paradoxical personality was gifted with an intellectual strength that went far toward dominating the turbulent passions which, on the whole, it could not quite dominate. But one needs, after all, no careful statistical proof of the rationality of Tschaïkowsky's music. The fact that it survives, that it is widely listened to and loved, proves _a priori_ that, however tinged it may be with personal melancholy, it is not ultimately pessimistical or destructive in effect. For it is the happy fortune of art that it cannot fully voice the destructive forces of anarchy and despair. Its nature precludes the possibility, for anarchy is chaos, despair is confusion, and neither can be the subject of that clearly organic order which is art. The artist may, of course, express sadness; his work, if it is to be comprehensively human, must be reflective of the ebb as well as the flow of vital power. But it cannot mirror complete dejection, the absolute lapse of power; for without power there is no organization, and without organization there is no art. The melodic invention, the harmonic grasp, the rhythmic vigor, in a word the powerful musical articulation, everywhere present in Tschaïkowsky's best work, remove it far from the inarticulate moanings of despair. Such faculties as his are anything but disintegrating or decadent; however much individual sadness may attend their exercise, they are upbuilding and creative. Tschaïkowsky commands our admiration more than our pity because, in spite of the burdens of his temperament and the misfortunes of his experience, he contributed to beauty, and beauty is the standing confutation of evil. BIBLIOGRAPHICAL NOTE.--Much of Tschaïkowsky's early work was for piano, but most of his piano pieces are light if not trivial in character. They are amusing to play over, but do not fairly represent his genius. Seventeen of them are to be had in an album in the Collection Litolff. The Sonata, op. 37, on the other hand, in spite of its marked resemblance to Schumann's F-sharp minor Sonata, is one of the finest of modern sonatas for piano. The Concertos are masterly, but very difficult. Most of the important orchestral works are arranged for four hands. The most interesting are the Pathetic Symphony, the Fifth Symphony, which should be equally well known, the Orchestral Suites, particularly the third, op. 55, with its charming _Tema con Variazioni_, and the Overture, Romeo and Juliet. Of the chamber-works, the third String Quartet, op. 30, and the Trio, are especially good. Twenty-four of Tschaïkowsky's songs are published in an album by Novello, Ewer & Co., and many separately by G. Schirmer and others. FOOTNOTES: