Wagner was a firm, but an equally thoughtful man, and while apparently undisturbed by the cyclone of criticism evoked by his compositions, saw his vulnerable points, and at once set about fortifying them. He studied counterpoint exhaustively, taking Bach as his model, and memorizing many of that master's most characteristic works. He then gave the world "Die Meistersinger" as the fruit of his labor, and therewith forever silenced honest cavillers who had based their adverse criticisms on his ignorance, for that work is a sublime example of contrapuntal virtuosity, and it marks the beginning of a new era in Wagner's development as a musician. His orchestral settings having kept pace with his musical growth, had ripened, had become tempered, consequently "Die Meistersinger" is one of the most beautiful compositions of any time, and in it we have the clear announcement of the new dispensation. There have been tons of literature printed, having as subjects "The Music of the Future," "Wagner," and "The Music-drama," some of the authors of which have been properly equipped (good musicians and liberally educated men), but more have been literary scavengers. The former class, having been on a war footing ever since Wagner became a bone of contention, are only just now beginning to discuss his creations dispassionately. Most of them were quite naturally arrayed against Wagner, for the most pungent flavor of the educated critic's writing is pedantry. He prefers traditions without originality to originality which does nor conform to traditions. Wagner's first works almost paralyzed these gentlemen, and they were a long time forgetting and forgiving the shock. Their criticisms were terribly acrid, but, as I have before mentioned, were instrumental in creating the music-drama, inasmuch as through pointing out veritable faults and weaknesses they led Wagner to broaden his scholarship. These critics find it hard to lay down their arms, although the battle is over, and Wagner died in full possession of the field. The few who were from the outset in sympathy with Wagner were quite as intemperate in their laudations as were his opponents in their strictures. They were blind idolaters, and Wagner was their musical "golden calf." The essence of the creed upon which the new dispensation is based is logical consistency. Poetry, music, and "stage business" are by it required to co-operate in expressing sentiments and in carrying the threads of dramatic schemes. Each of these arts is entirely essential to Wagner's creations. His texts are statues, which music, stage-setting, and action imbue with life. For this reason no one can hope to follow Wagner intelligently who starts without having made himself conversant with his poems. His later texts are heroic epics of no mean order. Their adaptability and musical suggestiveness are phenomenal. They could have been produced only by a musician-poet who had his completed pictures in view while writing them.