The history of music furnishes more than one instance of the paralysing effect which the influence of a great genius is apt to exercise upon his contemporaries and immediate successors. The vast popularity of Handel in England had the effect of stunting the development of our national music for more than a century. During his lifetime, and for many years after his death, English-born musicians could do little but imitate his more salient mannerisms, and reproduce in an attenuated form the lessons which he had taught. The effect of Wagner's music upon German opera has been something of the same description. As soon as his works gained their legitimate place in the affections of his countrymen, his influence began to assume formidable proportions. The might of his individuality was irresistible. It was not possible, as in Italy and France, to combine the system of Wagner with other elements. In Germany it had to be Wagner or nothing, and thus, except for the writers of sentimental Singspiele, a form of opera which scarcely comes into the province of art at all, German musicians have vied with each other in producing imitations of their great master, which succeeded or failed according to the measure of their resemblance to their model, but had very little value as original work. The production of Humperdinck's 'Haensel und Gretel' gave rise to a hope that the merely imitative period was passing away, but it is plain that the mighty shadow of Wagner still hangs over German music. Strauss's 'Salome' may be the herald of a new epoch, but on that subject it is too soon to indulge in prophecy.