Minna Planer was amiable and kind, but the frantic effort she made at times, in public, to be profound or chic must have touched the great man on the raw. He sought, however, to protect her, and at public gatherings used to keep very near to her in order that she should not fall into the clutches of some sharp-witted enemy and be lead on into unseemliness of speech. The scoffs of critics and the ready-made gibes and jeers of the mob were to her gospel truth; her husband's genius was a vagary to be stoutly endured. So for many years she was inclined to pose as one to be pitied--and so she was. That she suffered at times can not be denied, yet God is good, and so has put short limit on the sensibilities of the vain. But Wagner would never tolerate an unkind word spoken of Minna in his presence, and once rebuked a friend who sought to console him by saying, "Never mind, Minna lives her life the best she can, and expresses the thoughts that come to her--what more do you and I do?" And in his later years, when calm philosophy was his, he realized that Minna Planer had supplied him a stinging discontent, a continued unrest that formed the sounding-board on which his sorrow and his hope and his faith in the Ideal were echoed forth. Love is the recurring motif in all of Wagner's plays. A man and a woman, joined by God, but separated by unkind condition, play their parts, and our hearts are made by the Master to vibrate in sympathy with the central idea. Only a broken-hearted man could have conjured forth from his soul such couples as these: Senta and the Dutchman, Elizabeth and Tannhauser, Elsa and Lohengrin, Tristan and Isolde, Siegmund and Sieglinde, Walter and Eva, Siegfried and Brunhilde. Wagner's unhappy marriage forms the keynote of his art. Every opera he wrote depicts a soul in bonds. From "The Flying Dutchman" to "Parsifal" we are shown the struggle of a strong man with cruel Fate; a reaching out for liberty and light; the halting between duty and inclination; and the endless search for a woman who shall give deliverance through her abiding love and faith. * * * * * All art seems controlled by fad and fashion. No fashion endures, else 'twere not fashion, and in its character the fad is essentially transient. Still we need not rail at fashion; it is a form of periodicity, and periodicity exists through all Nature. There are day and night, winter and summer, equinox and solstice, work and rest, years of plenty and years of famine. Comets return, and all fashions come back. Keep your old raiment long enough and it will be in style.