The thematic system gives symphonic interest, reasonableness, and unity to the music, enabling the composer to exhaust every aspect and quality of his melodic material, and, in Beethoven's manner, to work miracles of beauty, expression and significance with the briefest phrases. As a set-off against this, it has led Wagner to indulge in repetitions that would be intolerable in a purely dramatic work. Almost the first thing that a dramatist has to learn in constructing a play is that the persons must not come on the stage in the second act and tell one another at great length what the audience has already seen pass before its eyes in the first act. The extent to which Wagner has been seduced into violating this rule by his affection for his themes is startling to a practiced playwright. Siegfried inherits from Wotan a mania for autobiography which leads him to inflict on every one he meets the story of Mimmy and the dragon, although the audience have spent a whole evening witnessing the events he is narrating. Hagen tells the story to Gunther; and that same night Alberic's ghost tells it over again to Hagen, who knows it already as well as the audience. Siegfried tells the Rhine maidens as much of it as they will listen to, and then keeps telling it to his hunting companions until they kill him. Wotan's autobiography on the second evening becomes his biography in the mouths of the Norns on the fourth. The little that the Norns add to it is repeated an hour later by Valtrauta. How far all this repetition is tolerable is a matter of individual taste. A good story will bear repetition; and if it has woven into it such pretty tunes as the Rhine maidens' yodel, Mimmy's tinkling anvil beat, the note of the forest bird, the call of Siegfried's horn, and so on, it will bear a good deal of rehearing. Those who have but newly learnt their way through The Ring will not readily admit that there is a bar too much repetition. But how if you find some anti-Wagnerite raising the question whether the thematic system does not enable the composer to produce a music drama with much less musical fertility than was required from his predecessors for the composition of operas under the old system! Such discussions are not within the scope of this little book. But as the book is now finished (for really nothing more need be said about The Ring), I am quite willing to add a few pages of ordinary musical criticism, partly to please the amateurs who enjoy that sort of reading, and partly for the guidance of those who wish to obtain some hints to help them through such critical small talk about Wagner and Bayreuth as may be forced upon them at the dinner table or between the acts. THE OLD AND THE NEW MUSIC