It is quite impossible otherwise: the observer who is confronted with a nature such as Wagner's must, willy-nilly, turn his eyes from time to time upon himself, upon his insignificance and frailty, and ask himself, What concern is this of thine? Why, pray, art thou there at all? Maybe he will find no answer to these questions, in which case he will remain estranged and confounded, face to face with his own personality. Let it then suffice him that he has experienced this feeling; let the fact that he has felt strange and embarrassed in the presence of his own soul be the answer to his question For it is precisely by virtue of this feeling that he shows the most powerful manifestation of life in Wagner—the very kernel of his strength—that demoniacal magnetism and gift of imparting oneself to others, which is peculiar to his nature, and by which it not only conveys itself to other beings, but also absorbs other beings into itself; thus attaining to its greatness by giving and by taking. As the observer is apparently subject to Wagner's exuberant and prodigally generous nature, he partakes of its strength, and thereby becomes formidable through him and to him. And every one who critically examines himself knows that a certain mysterious antagonism is necessary to the process of mutual study. Should his art lead us to experience all that falls to the lot of a soul engaged upon a journey, i.e. feeling sympathy with others and sharing their fate, and seeing the world through hundreds of different eyes, we are then able, from such a distance, and under such strange influences, to contemplate him, once we have lived his life. We then feel with the utmost certainty that in Wagner the whole visible world desires to be spiritualised, absorbed, and lost in the world of sounds. In Wagner, too, the world of sounds seeks to manifest itself as a phenomenon for the sight; it seeks, as it were, to incarnate itself. His art always leads him into two distinct directions, from the world of the play of sound to the mysterious and yet related world of visible things, and vice versa. He is continually forced—and the observer with him—to re-translate the visible into spiritual and primeval life, and likewise to perceive the most hidden interstices of the soul as something concrete and to lend it a visible body. This constitutes the nature of the dithyrambic dramatist, if the meaning given to the term includes also the actor, the poet, and the musician; a conception necessarily borrowed from Æschylus and the contemporary Greek artists—the only perfect examples of the dithyrambic dramatist before Wagner. If attempts have been made to trace the most wonderful developments to inner obstacles or deficiencies, if, for instance, in Goethe's case, poetry was merely the refuge of a foiled talent for painting; if one may speak of Schiller's dramas as of vulgar eloquence directed into uncommon channels; if Wagner himself tries to account for the development of music among the Germans by showing that, inasmuch as they are devoid of the entrancing stimulus of a natural gift for singing, they were compelled to take up instrumental music with the same profound seriousness as that with which their reformers took up Christianity,—if, on the same principle, it were sought to associate Wagner's development with an inner barrier of the same kind, it would then be necessary to recognise in him a primitive dramatic talent, which had to renounce all possibility of satisfying its needs by the quickest and most methods, and which found its salvation and its means of expression in drawing all arts to it for one great dramatic display. But then one would also have to assume that the most powerful musician, owing to his despair at having to appeal to people who were either only semi-musical or not musical at all, violently opened a road for himself to the other arts, in order to acquire that capacity for diversely communicating himself to others, by which he compelled them to understand him, by which he compelled the masses to understand him. However the development of the born dramatist may be pictured, in his ultimate expression he is a being free from all inner barriers and voids: the real, emancipated artist cannot help himself, he must think in the spirit of all the arts at once, as the mediator and intercessor between apparently separated spheres, the one who reinstalls the unity and wholeness of the artistic faculty, which cannot be divined or reasoned out, but can only be revealed by deeds themselves. But he in whose presence this deed is performed will be overcome by its gruesome and seductive charm: in a flash he will be confronted with a power which cancels both resistance and reason, and makes every detail of life appear irrational and incomprehensible. Carried away from himself, he seems to be suspended in a mysterious fiery element; he ceases to understand himself, the standard of everything has fallen from his hands; everything stereotyped and fixed begins to totter; every object seems to acquire a strange colour and to tell us its tale by means of new symbols;—one would need to be a Plato in order to discover, amid this confusion of delight and fear, how he accomplishes the feat, and to say to the dramatist: "Should a man come into our midst who possessed sufficient knowledge to simulate or imitate anything, we would honour him as something wonderful and holy; we would even anoint him and adorn his brow with a sacred diadem; but we would urge him to leave our circle for another, notwithstanding." It may be that a member of the Platonic community would have been able to chasten himself to such conduct: we, however, who live in a very different community, long for, and earnestly desire, the charmer to come to us, although we may fear him already,—and we only desire his presence in order that our society and the mischievous reason and might of which it is the incarnation may be confuted. A state of human civilisation, of human society, morality, order, and general organisation which would be able to dispense with the services of an imitative artist or mimic, is not perhaps so utterly inconceivable; but this Perhaps is probably the most daring that has ever been posited, and is equivalent to the gravest expression of doubt. The only man who ought to be at liberty to speak of such a possibility is he who could beget, and have the presentiment of, the highest phase of all that is to come, and who then, like Faust, would either be obliged to turn blind, or be permitted to become so. For we have no right to this blindness; whereas Plato, after he had cast that one glance into the ideal Hellenic, had the right to be blind to all Hellenism. For this reason, we others are in much greater need of art; because it was in the presence of the realistic that our eyes began to see, and we require the complete dramatist in order that he may relieve us, if only for an hour or so, of the insufferable tension arising from our knowledge of the chasm which lies between our capabilities and the duties we have to perform. With him we ascend to the highest pinnacle of feeling, and only then do we fancy we have returned to nature's unbounded freedom, to the actual realm of liberty. From this point of vantage we can see ourselves and our fellows emerge as something sublime from an immense mirage, and we see the deep meaning in our struggles, in our victories and defeats; we begin to find pleasure in the rhythm of passion and in its victim in the hero's every footfall we distinguish the hollow echo of death, and in its proximity we realise the greatest charm of life: thus transformed into tragic men, we return again to life with comfort in our souls. We are conscious of a new feeling of security, as if we had found a road leading out of the greatest dangers, excesses, and ecstasies, back to the limited and the familiar: there where our relations with our fellows seem to partake of a superior benevolence, and are at all events more noble than they were. For here, everything seemingly serious and needful, which appears to lead to a definite goal, resembles only detached fragments when compared with the path we ourselves have trodden, even in our dreams,— detached fragments of that complete and grand experience whereof we cannot even think without a thrill. Yes, we shall even fall into danger and be tempted to take life too easily, simply because in art we were in such deadly earnest concerning it, as Wagner says somewhere anent certain incidents in his own life. For if we who are but the spectators and not the creators of this display of dithyrambic dramatic art, can almost imagine a dream to be more real than the actual experiences of our wakeful hours, how much more keenly must the creator realise this contrast! There he stands amid all the clamorous appeals and importunities of the day, and of the necessities of life; in the midst of Society and State—and as what does he stand there? Maybe he is the only wakeful one, the only being really and truly conscious, among a host of confused and tormented sleepers, among a multitude of deluded and suffering people. He may even feel like a victim of chronic insomnia, and fancy himself obliged to bring his clear, sleepless, and conscious life into touch with somnambulists and ghostly well-intentioned creatures. Thus everything that others regard as commonplace strikes him as weird, and he is tempted to meet the whole phenomenon with haughty mockery. But how peculiarly this feeling is crossed, when another force happens to join his quivering pride, the craving of the heights for the depths, the affectionate yearning for earth, for happiness and for fellowship—then, when he thinks of all he misses as a hermit-creator, he feels as though he ought to descend to the earth like a god, and bear all that is weak, human, and lost, "in fiery arms up to heaven," so as to obtain love and no longer worship only, and to be able to lose himself completely in his love. But it is just this contradiction which is the miraculous fact in the soul of the dithyrambic dramatist, and if his nature can be understood at all, surely it must be here. For his creative moments in art occur when the antagonism between his feelings is at its height and when his proud astonishment and wonder at the world combine with the ardent desire to approach that same world as a lover. The glances he then bends towards the earth are always rays of sunlight which "draw up water," form mist, and gather storm-clouds. Clear-sighted and prudent, loving and unselfish at the same time, his glance is projected downwards; and all things that are illumined by this double ray of light, nature conjures to discharge their strength, to reveal their most hidden secret, and this through bashfulness. It is more than a mere figure of speech to say that he surprised Nature with that glance, that he caught her naked; that is why she would conceal her shame by seeming precisely the reverse. What has hitherto been invisible, the inner life, seeks its salvation in the region of the visible; what has hitherto been only visible, repairs to the dark ocean of sound: thus Nature, in trying to conceal herself, unveils the character of her contradictions. In a dance, wild, rhythmic and gliding, and with ecstatic movements, the born dramatist makes known something of what is going on within him, of what is taking place in nature: the dithyrambic quality of his movements speaks just as eloquently of quivering comprehension and of powerful penetration as of the approach of love and self-renunciation. Intoxicated speech follows the course of this rhythm; melody resounds coupled with speech, and in its turn melody projects its sparks into the realm of images and ideas. A dream-apparition, like and unlike the image of Nature and her wooer, hovers forward; it condenses into more human shapes; it spreads out in response to its heroically triumphant will, and to a most delicious collapse and cessation of will:—thus tragedy is born; thus life is presented with its grandest knowledge— that of tragic thought; thus, at last, the greatest charmer and benefactor among mortals—the dithyrambic dramatist—is evolved.