cene with its cruel hypocrisies. It is difficult to see why all his
passions and all his feelings are not brought into play here. The
Russian librettos do no more, nor the operas based on mythology.

But to continue. From the point of view of opera mythology offers one
advantage in the use of the miraculous. But the rest of the mythical
element offers, rather, difficulties. Characters who never existed and
in whom no one believes cannot be made interesting in themselves. They
do not sustain, as is sometimes supposed, the music and poetry. On the
contrary, the music and poetry give them such reality as they possess.
We could not endure the interminable utterances of the mournful Wotan,
if it were not for the wonderful music that accompanies them. Orpheus
weeping over Eurydice would not move us greatly, if Gluck had not known
how to captivate us by his first notes. If it were not for Mozart's
music, the puppets of the _Magic Flute_ would amount to nothing.

Musicians should, as a matter of fact, be allowed to choose both the
subject and motives for their operas according to their temperaments and
their feelings. Much youthful talent is lost to-day because the young
composers believe that they must obey set rules instead of obeying their
own inspiration. All great artists, the illustrious Richard more than
any other, mocked the critics.

As I have spoken of Richard Wagner's youth, I will take advantage of the
opportunity to reveal a secret of one of his own works which is known to
me alone. When Wagner was young, I was a child and I attended constantly
the sessions of the Societe des Concerts. The kettledrummer of that day
had a peculiar habit of breaking in before the rest of the orchestra.
When the others began, it produced an effect which the authors had
hardly foreseen and which was certain to be condemned. But the effect
had a rather distinctive character and I thought it might be possible to
use it. Richard Wagner lived in Paris at the time and frequented the
famous concerts. There is no doubt that he noted this effect and used it
in his overture to _Faust_.

CHAPTER VII

ART FOR ART'S SAKE

What is Art?

Art is a mystery--something which responds to a special sense, peculiar
to the human race. This is ordinarily called the esthetic sense, but
that is an inexact term, for esthetic sense signifies a sense of the
beautiful and what is esthetic is not necessarily beautiful. Sense of
style would be better