William Morris) which consists of four
stupendous operas, _Das Rheingold_, _Die Walkuere_, _Siegfried_,
and _Gotterdaemmerung_. These marvellous works, the consummation
of the Bayreuth master's principles, undoubtedly stand with
Beethoven's symphonies as the greatest achievements in music.

For the rest, it may be mentioned that Wagner was in private life
a most kindly man, albeit at times quick-tempered, a great lover
of children and animals. His philosophy was a somewhat variable
quantity; he fell under the influence first of Feuerbach, then of
Schopenhauer, and to some extent possibly of Nietzsche. But
still, throughout all his works runs the doctrine of the Free
Individual, of which Siegfried and Parsifal are perhaps the most
striking impersonations.

Like Browning, Wagner believed in redemption by means of
sacrifice. In his richness and strength Wagner typified the
abounding vitality of the new Germany. To the Fatherland he is
what Shakespeare is to England. One may apply to him the noble
words Milton wrote of Shakespeare:

"Thou in our wonder and astonishment
Hast built thyself a livelong monument.

. . . . . . . . . . . . . . . .

And so sepulchred in such pomp dost lie
That kings for such a tomb would wish to die."

H. P. M. J.

I found among my son's papers a sketch in manuscript of Wagner's life
and work. It begins with some observations on Romanticism and
Classicism.

Whereas in the Classical style the spirit is held in restraint by
certain forms, in the Romantic it refuses to acknowledge these
forms and breaks away to give the soul entirely free play. It
necessarily follows that the Romantic style makes the wider
appeal, for it touches chords of the heart that the Classical
cannot. Also the Romantic is rather more definite and less purely
intellectual than the Classical, though the ideal may be equally
high in the one as in the other. In short, the Romantic style is
human in its appeal, while the Classical is superhuman. The best
examples of men great in these two forms of art are Shakespeare
in the Romance and Milton in the Classic.

Returning to music, he thought that Bach, "immortal though many of his
works are," was fettered by his servitude to rules.

The Classi