(=Æsthetics.=) Similar to the orchestral works of Wagner, those of Strauss are worthy of exhaustive critical analysis. To carefully examine them all, however, would require an entire volume by itself. It is therefore proposed to select as typical only a few of the most characteristic points from one of the most characteristic of Strauss' orchestral works: "Ein Heldenleben"--Tondichtung (op. 40, 1898). In order to appreciate the magnitude of his undertakings, let us first see how he maps out and elaborates upon the programmatic theme chosen for musical setting. The nuclear thought of "Ein Heldenleben" is the simultaneous portrayal of a combined mortal and mental hero belonging to both a worldly and a spiritual realm, or as Friedrich Rösch expresses it: "Eine harmonisch gesteigerte Zusammenfassung eines Volks- und Kriegshelden und eines von künstlerischer Schaffensfreude beseelten Übermenschen aus dem Reiche der Phantasie." The "program" of "Ein Heldenleben" contains six general divisions: I. DER HELD. II. DES HELDEN WIDERSACHER. III. DES HELDEN GEFÄHRTIN. IV. DES HELDEN WALSTATT. V. DES HELDEN FRIEDENSWERKE. VI. DES HELDEN WELTFLUCHT UND VOLLENDUNG. No. I is comprised of two general groups of thematic material. The first group is in reality one single and broadly constructed main theme,--the synthesis of five distinctive motives. The second group is made up of four contrapuntally interwoven and super-imposed secondary themes. After these nine themes have been duly presented, they are subjected to recapitulation and development. A tenth figure, based upon previous material, is also introduced. The first group of themes, given out by low stringed-instruments, horns, etc., begins as follows: [Music: No. 22.[70]] [Footnote 70: See Ex. 8.] The first theme of the second group is assigned to divided first violins, beneath which wind-instruments intone the second theme. [Music: No. 23.] No. II contains five sharply contrasted and interwoven themes. (No. 24.) The piercing accents of the wood-wind in their shrillest and most blatant range are here drawn into requisition, and are legitimately suggestive of Wagner's "Beckmesser" orchestration. The section subsequently embodies five modified expositions from the first leading theme of No. I. [Music: No. 24.] No. III is ushered in by a tender theme for solo violin: [Music: No. 25.] This is followed by an exposition of five themes of intentional similarity, which depict the varying moods of the hero's courtship. These themes are further enhanced by characteristic and contrasted orchestral tone-color. [Music: No. 26.]