In the midst of this mode of life, a detailed description of which is necessary in order to inspire the amount of pity, awe, and admiration which are its due, he developed a _talent for acquiring knowledge_, which even in a German--a son of the nation learned above all others--was really extraordinary. And with this talent yet another danger threatened Wagner--a danger more formidable than that involved in a life which was apparently without either a stay or a rule, borne hither and thither by disturbing illusions. From a novice trying his strength, Wagner became a thorough master of music and of the theatre, as also a prolific inventor in the preliminary technical conditions for the execution of art. No one will any longer deny him the glory of having given us the supreme model for lofty artistic execution on a large scale. But he became more than this, and in order so to develop, he, no less than any one else in like circumstances, had to reach the highest degree of culture by virtue of his studies. And wonderfully he achieved this end! It is delightful to follow his progress. From all sides material seemed to come unto him and into him, and the larger and heavier the resulting structure became, the more rigid was the arch of the ruling and ordering thought supporting it. And yet access to the sciences and arts has seldom been made more difficult for any man than for Wagner; so much so that he had almost to break his own road through to them. The reviver of the simple drama, the discoverer of the position due to art in true human society, the poetic interpreter of bygone views of life, the philosopher, the historian, the æsthete and the critic, the master of languages, the mythologist and the myth poet, who was the first to include all these wonderful and beautiful products of primitive times in a single Ring, upon which he engraved the runic characters of his thoughts--what a wealth of knowledge must Wagner have accumulated and commanded, in order to have become all that! And yet this mass of material was just as powerless to impede the action of his will as a matter of detail--however attractive--was to draw his purpose from its path. For the exceptional character of such conduct to be appreciated fully, it should be compared with that of Goethe,--he who, as a student and as a sage, resembled nothing so much as a huge river-basin, which does not pour all its water into the sea, but spends as much of it on its way there, and at its various twists and turns, as it ultimately disgorges at its mouth. True, a nature like Goethe's not only has, but also engenders, more pleasure than any other; there is more mildness and noble profligacy in it; whereas the tenor and tempo of Wagner's power at times provoke both fear and flight. But let him fear who will, we shall only be the more courageous, in that we shall be permitted to come face to face with a hero who, in regard to modern culture, "has never learned the meaning of fear."