sang_,—clearness and a Wagnerite! I won’t say another word. There were reasons for adding; “For heaven’s sake, be a little more true unto yourself! We are not in Bayreuth now. In Bayreuth people are only upright in the mass; the individual lies, he even lies to himself. One leaves oneself at home when one goes to Bayreuth, one gives up all right to one’s own tongue and choice, to one’s own taste and even to one’s own courage, one knows these things no longer as one is wont to have them and practise them before God and the world and between one’s own four walls. In the theatre no one brings the finest senses of his art with him, and least of all the artist who works for the theatre,—for here loneliness is lacking; everything perfect does not suffer a witness.… In the theatre one becomes mob, herd, woman, Pharisee, electing cattle, patron, idiot—Wagnerite: there, the most personal conscience is bound to submit to the levelling charm of the great multitude, there the neighbour rules, there one _becomes_ a neighbour.” Wagner As A Danger. 1. The aim after which more modern music is striving, which is now given the strong but obscure name of “unending melody,” can be clearly understood by comparing it to one’s feelings on entering the sea. Gradually one loses one’s footing and one ultimately abandons oneself to the mercy or fury of the elements: one has to swim. In the solemn, or fiery, swinging movement, first slow and then quick, of old music—one had to do something quite different; one had to dance. The measure which was required for this and the control of certain balanced degrees of time and energy, forced the soul of the listener to continual sobriety of thought.—Upon the counterplay of the cooler currents of air which came from this sobriety, and from the warmer breath of enthusiasm, the charm of all good music rested—Richard Wagner wanted another kind of movement,—he overthrew the physiological first principle of all music before his time. It was no longer a matter of walking or dancing,—we must swim, we must hover.… This perhaps decides the whole matter. “Unending melody” really wants to break all the symmetry of time and strength; it actually scorns these things—Its wealth of invention resides precisely in what to an older ear sounds like rhythmic paradox and abuse. From the imitation or the prevalence of such a taste there would arise a danger for music—so great that we can imagine none greater—the complete degeneration of the feeling for rhythm, _chaos_ in the place of rhythm.… The danger reaches its climax when such music cleaves ever more closely to naturalistic play-acting and pantomime, which governed by no laws of form, aim at effect and nothing more.… Expressiveness at all costs and music a servant, a slave to attitudes—this is the end.… 2.