Because of the serious shortcomings we have indicated, and because of others which will be pointed out, the art of Strauss may never reach the highest levels; his chief office as composer, like that of Whitman as poet, may be to explore a domain wherein the superlative genius of the future is to expand his ample powers. That genius, and in our opinion he only, can reveal the legitimate possibilities of sound. In his tonal creations the cacophonious, as well as the euphonious, must be employed in such way that every mood of man and every shade of human feeling shall be faithfully portrayed, and the world itself epitomized. His must be a sane equipoise, an unfailing sense of fitness, the consummate ability to adjust to a nicety, so that always the end justifies the means. Already his predecessors in the great acknowledged schools have developed the art of euphony. It will be his even more difficult and exacting task to develop the art of cacophony, and fuse the two in such way that they over-picture not the totality of man and nature. Notwithstanding Wagner's belief that instrumental music could not further develop unless fused with the sister arts of poetry, painting and dramatic action, the modern outlook discovers in the art of sound almost limitless possibilities as yet unrealized; but, judging from the past, the stupendous tonal edifice created by the coming master will not overshadow the erections of composers from Bach to Wagner. Still the divine Mozart will turn us to the never-to-be despised beauty of form chaste and classic. Still Beethoven's temple of music will reveal that form's complete and glorious development and crowning. Still at heaven's very gate will Schubert, spontaneous and impassional lark, outpour the melody he learned beneath that temple's overhanging roof, or else in the sacred limits of its inmost court. Always we shall have with us those who in the name of progress turn the back on whatever is behind. Ignoring Aristotle's profound dictum that the real test of art is not originality, but its truth to the universal, these no doubt will ridicule as immature attempts, necessary to the adolescence of art, all that is greatest in German and Italian music. In addition to these we shall have that class of temperamental individuals who, from the extravagant and bizarre, derive that thrill of rapture which they mistake for appreciation: however, these fickle followers of fads and fashions cannot be reckoned among the adherents of legitimate art. Now as to the public, the great overwhelming body of the people; can they be educated to enjoy the new art of sound? Will they not refuse, aye, obstinately refuse to appreciate cacophony however judiciously employed? A difficult question this unless one remembers that, as the race advances, the foremost, coming into new vistas of Truth, bequeath to those next in line, and so on to the very rear, their own rare and high discovery.