Having found a sort of salvation among the "Halcyonians," he is constrained to wage spiritual warfare against all Hyperboreans, and especially against Wagner, regarded as the typical Hyperborean. "Ah, the old Minotaur!" says Nietzsche, "What has he not cost us already! Every year trains of the finest youths and maidens are led into his labyrinth to be devoured. Every year all Europe strikes up the cry: 'Off to Crete! Off to Crete!'" It is highly interesting to observe where Nietzsche finds an antidote for the painful impression of the Wagnerian art. The one modern work that thoroughly satisfied his later taste was Bizet's "Carmen." "This music seems to me perfect," he says; "it approaches lightly, nimbly, and with courtesy. It is rich and precise. It builds, organises, completes, and is thus the antithesis of that polypus in music which Wagner calls unending melody. It has the subtlety of a race, not of an individual. It is free from grimace and imposture. I become a better man," says Nietzsche, "when this Bizet exhorts me. Such music sets the spirit free. It gives wings to thought. With Bizet's work one takes leave of the humid north and all the steam of the Wagnerian ideal." "Carmen" is only the music of devil-may-care, of gaiety and sunburnt mirth, with a strong spice of southern passion; but it has really vivid originality, it has true unity of style, and the unerring perfection with which the composer has caught and reflected a certain mood of wayward grace and mastered the musical symbolism of the bright and fierce and fickle south, the lightness and fire, the logical development and rhythmical charm of the music stamp the work as an unmistakable masterpiece of its kind. In his delight at finding something congenial to his later taste Nietzsche forgot the question of scope, and forgot that Bizet was only a trifler. It was enough for him that he had found a "Halcyonian" to contrast with Wagner, the "Hyperborean." Another objection to the line taken in the introduction is that the isolated insistence on Nietzsche's "physiological" standard gives the impression of a type of thinker inconceivably remote from what he really was. Many a dull and stodgy materialist, such as the author of "Kraft und Stoff," has maintained the universality of the physiological standard; while the special characteristic of Nietzsche's ethical ideas is surely something very different. Is it not the audacious denial that any one ethical system is valid for all classes of mankind?--the theory of "Herrenmoral" and "Sklavenmoral," master-morality and slave-morality--and the attribution of all social mischief to the ever-increasing prevalence of slave-morality over master-morality. Is it not the acceptance of the caste-system as the simple recognition of a universal and unchanging fact of life which really differentiates Nietzsche both from the English moralists and from all other European writers whatsoever? Perhaps Dr. Tille was unwilling