His second wife, the celebrated Cosima Liszt-von Bülow, had far more intelligence than Minna, and so we may assume that her presence in his music factory was less of a handicap upon the composer. Nevertheless, the chances are that she, too, did him far more harm than good. To begin with, she was extremely plain in face--and nothing is more damaging to the creative faculty than the constant presence of ugliness. Cosima, in fact, looked not unlike a modern woman politician; even Nietzsche, a very romantic young fellow, had to go crazy before he could fall in love with her. In the second place, there is good reason to believe that Cosima, until after Wagner’s death, secretly believed that her father, Papa Liszt, was a far better musician. Men’s wives almost invariably make some such mistake; to find one who can separate the man of genius from the mere husband, and then estimate the former accurately and fairly, is surely very rare. A woman usually respects her father, but her view of her husband is mingled with contempt, for she is of course privy to the transparent devices by which she snared him. It is difficult for her, being so acutely aware of the shallowness of the man, to give due weight to the dignity of the artist. Moreover, Cosima had shoddy tastes, and they played destructively upon poor Wagner. There are parts of “Parsifal” that suggest her very strongly--more strongly, in fact, than they suggest the author of “Die Götterdammerung.” I do not here decry Wagner; on the contrary, I praise him, and perhaps excessively. It is staggering to think of the work he did, with Minna and Cosima shrilling into his ears. What interests me is the question as to how much further he might have gone had he escaped the passionate affection of the two of them and of their various volunteer assistants. The thought fascinates, and almost alarms. There is a limit beyond which sheer beauty becomes unseemly. In “Tristan und Isolde,” in the Ring, and even in parts of “Parsifal,” Wagner pushes his music very near that limit. A bit beyond lies the fourth dimension of tone--and madness. Both Beethoven and Brahms, I believe, more than once edged over the line. Two bachelors. Had Beethoven married in 1802, as he seems to have been tempted to do by some scheming wench, it is doubtful that the world would ever have heard the Eroica. In the Eroica there is everything that startles and dismays a loving wife: brilliant novelty, vast complexity thunderous turmoil, great bursts of undiluted genius. Even Beethoven never wrote anything more astounding than its first movement; the first movement of the C Minor is relatively elemental beside it. Nor is there anything so revolutionary in the Ninth.