men who have sound musical ideas and would make good composers, but who have no natural talent or taste for the technical groundwork. For one Schubert who overcomes the handicap by sheer genius there must be dozens who are repelled and discouraged. There is another, and perhaps even worse disadvantage. The potential Schuberts flee in alarm, but the Professor Sawdusts march in bravely. That is to say, music is hard for musicians, but easy for pedants, grinds and examination-passers. Its constant invasion by a hollow formalism is the result. It offers an inviting playground to the bombastic jackass whose delight it is to astonish the bourgeoisie with insane feats of virtuosity. 3 _Symbiosis and the Artist_ In contemplating the stupendous achievements of such a man as Wagner--achievements so colossal that only a small minority of men, specially trained, can even comprehend and appreciate them--one often finds one’s self wondering how much further he would have gone had he not been harassed by his two wives. His first wife, Minna Planer, was frankly and implacably opposed to his life-work, and made deliberate efforts to dissuade him from it. She regarded “Lohengrin” as nonsensical and “Tannhäuser” as downright indecent. It was her constant hope, until Wagner finally kicked her out, that he would give over such stuff, and consecrate himself to the composition of respectable operas in the manner of Rossini, her favorite composer. The only composition of his that genuinely pleased her was a set of variations for the _cornet à piston_ that he wrote in Paris. She was a singer, and had the brains of one. It must be plain that the presence of such a woman--and Wagner lived with her for twenty years--must have put a fearful burden upon the man’s creative genius. No man can be absolutely indifferent to the prejudices and opinions of his wife. She has too many opportunities to shove them down his throat. If she can’t make him listen to them by howling and bawling, she can make him listen by snuffling. To say that he can carry on his work without paying any heed to her is equal to saying that he can carry on his work without paying any heed to his toothache, his conscience, or the boiler-factory next door. In spite of Minna, Wagner composed a number of very fine music dramas. But if he had poisoned her at the beginning of his career it is very likely that he would have composed more of them, and perhaps even better ones.