In a word: “Wagner and Liszt.” Never yet have the “uprightness” and “genuineness” of musicians been put to such a dangerous test. It is glaringly obvious: great success, mob success is no longer the achievement of the genuine,—in order to get it a man must be an actor!—Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilisations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavourable. The actor, alone, can still kindle _great_ enthusiasm.—And thus it is his _golden age_ which is now dawning,—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he “delivered” them from monotony.… The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to _Riemann’s_ services to rhythmics; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it “phrasing”).—All these people, and I say it with gratitude, are the best, the most respectable among Wagner’s admirers—they have a perfect right to honour Wagner. The same instinct unites them with one another; in him they recognise their highest type, and since he has inflamed them with his own ardour they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner’s influence has really been _beneficent_. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and _obtain_ from themselves, they had never exacted before Wagner’s time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there the most difficult things are expected, blame is severe, praise very scarce,—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more “dramatic” effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of decadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, “self-denial”. Neither taste, voices, nor gifts, Wagner’s stage requires but one thing: _Germans!_… The definition of a German: an obedient man with long legs.… There is a deep significance in the fact that the rise of Wagner should have coincided with the rise of the “Empire”: both phenomena are a proof of one and the same thing—obedience and long legs.—Never have people been more obedient, never