In Wagner's music there is a touch of chaos that suggests the infinite. The melodies seem strange and changing forms, like summer clouds, and weird harmonies come like sounds from the sea brought by fitful winds, and others moan like waves on desolate shores, and mingled with these, are shouts of joy, with sighs and sobs and ripples of laughter, and the wondrous voices of eternal love. Wagner is the Shakespeare of Music. The funeral march for Siegfried is the funeral music for all the dead; Should all the gods die, this music would be perfectly appropriate. It is elemental, universal, eternal. The love-music in Tristan and Isolde is, like Romeo and Juliet, an expression of the human heart for all time. So the love-duet in The Flying Dutchman has in it the consecration, the infinite self-denial, of love. The whole heart is given; every note has wings, and rises and poises like an eagle in the heaven of sound. When I listen to the music of Wagner, I see pictures, forms, glimpses of the perfect, the swell of a hip, the wave of a breast, the glance of an eye. I am in the midst of great galleries. Before me are passing, the endless panoramas. I see vast landscapes with valleys of verdure and vine, with soaring crags, snow-crowned. I am on the wide seas, where countless billows burst into the white caps of joy. I am in the depths of caverns roofed with mighty crags, while through some rent I see the eternal stars. In a moment the music, becomes a river of melody, flowing through some wondrous land; suddenly it falls in strange chasms, and the mighty cataract is changed to seven-hued foam. . Great music is always sad, because it tells us of the perfect; and such is the difference between what we are and that which music suggests, that even in the vase of joy we find some tears. The music of Wagner has color, and when I hear the violins, the morning seems to slowly come. A horn puts a star above the horizon. The night, in the purple hum of the bass, wanders away like some enormous bee across wide fields of dead clover. The light grows whiter as the violins increase. Colors come from other instruments, and then the full orchestra floods the world with day. Wagner seems not only to have given us new tones, new combinations, but the moment the orchestra begins to play his music, all the instruments are transfigured. They seem to utter the sounds that they have been longing to utter. The horns run riot; the drums and cymbals join in the general joy; the old bass viols are alive with passion; the 'cellos throb with love; the violins are seized with a divine fury, and the notes rush out as eager for the air as pardoned prisoners for the roads and fields.