its unceasing growth, gives the lie to
their theories, and breaks down these weak barriers. But they do not see
it, do not wish to see it; since they cannot advance themselves, they
deny progress. Critics of this kind do not think favourably of Berlioz's
dramatic and descriptive symphonies. How should they appreciate the
boldest musical achievement of the nineteenth century? These dreadful
pedants and zealous defenders of an art that they only understand after
it has ceased to live are the worst enemies of unfettered genius, and
may do more harm than a whole army of ignorant people. For in a country
like ours, where musical education is poor, timidity is great in the
presence of a strong, but only half-understood, tradition; and anyone
who has the boldness to break away from it is condemned without
judgment. I doubt if Berlioz would have obtained any consideration at
all from lovers of classical music in France if he had not found allies
in that country of classical music, Germany--"the oracle of Delphi,"
"Germania alma parens,"[2] as he called her. Some of the young German
school found inspiration in Berlioz. The dramatic symphony that he
created flourished in its German form under Liszt; the most eminent
German composer of to-day, Richard Strauss, came under his influence;
and Felix Weingartner, who with Charles Malherbe edited Berlioz's
complete works, was bold enough to write, "In spite of Wagner and Liszt,
we should not be where we are if Berlioz had not lived." This unexpected
support, coming from a country of traditions, has thrown the partisans
of Classic tradition into confusion, and rallied Berlioz's friends.

[Footnote 2: _Memoires_, II, 149.]

But here is a new danger. Though it is natural that Germany, more
musical than France, should recognise the grandeur and originality of
Berlioz's music before France, it is doubtful whether the German nature
could ever fully understand a soul so French in its essence. It is,
perhaps, what is exterior in Berlioz, his positive originality, that the
Germans appreciate. They prefer the _Requiem_ to _Romeo_. A Richard
Strauss would be attracted by an almost insignificant work like the
_Ouverture du roi Lear_; a Weingartner would single out for notice
works like the _Symphonic fantastique_ and _Harold_, and exaggerate
their importance. But they do not feel what is intimate in him. Wagner
said over the tomb of Weber, "England does you justice, France admires
you, but only Ge