I frankly confess that I had hoped that by means of art the Germans would become thoroughly disgusted with _decaying Christianity_--I regarded German mythology as a solvent, as a means of accustoming people to polytheism. What a fright I had over the Catholic revival!! 12. It is possible neither to suffer sufficiently acutely from life, nor to be so lifeless and emotionally weak, as to have _need_ of Wagner's art, as to require it as a medium. This is the principal reason of one's _opposition_ to it, and not baser motives: something to which we are not driven by any personal need, and which we do not _require,_ we cannot esteem so highly. 13. It is a question either of no longer _requiring_ Wagner's art, or of still requiring it Gigantic forces lie concealed in it: _it drives one beyond its own domain._ 14. _Goethe_ said: "Are not Byron's audacity, sprightliness and grandeur all creative? We must beware of always looking for this quality in that which is perfectly pure and moral. All _greatness_ is creative the moment we realise it." This should be applied to Wagner's art. 15. We shall always have to credit Wagner with the fact that in the second half of the nineteenth century he impressed art upon our memory as an important and magnificent thing. True, he did this in his own fashion, and this was not the fashion of upright and far-seeing men. 16. Wagner _versus_ the cautious, the cold and the contented of the world--in this lies his greatness --he is a stranger to his age--he combats the frivolous and the super-smart.--But he also fights the just, the moderate, those who delight in the world (like Goethe); and the mild, the people of charm, the scientific among men--this is the reverse of the medal. 17. Our youth was up in arms against the _soberness_ of the age. It plunged into the cult of excess, of passion, of ecstasy, and of the blackest and most austere conception of the world. 18. Wagner pursues one form of madness, the age another form. Both carry on their chase at the same speed, each is as blind and as unjust as the other. 19. It is very difficult to trace the course of Wagner's inner development--no trust must be placed in his own description of his soul's experiences. He writes party-pamphlets for his followers. 20. It is extremely doubtful whether Wagner is able to bear witness about himself. 21. There are men who try in vain to make a principle out of _themselves._ This was the case with Wagner. 22. Wagner's obscurity concerning final aims; his non-antique fogginess. 23. All Wagner's ideas straightway become manias; he is _tyrannised_ over by them. How can _such a man allow himself to be tyrannised over in this way!_ For instance by his hatred of Jews. He _kills_ his themes like his "ideas," by means of his violent love of repeating them. The problem of excessive length and breadth; he bores us with his raptures. 24.