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II

Why is it that musicians cannot write? I asked myself, for it needed only a half-moment's reflection to convince me that Mr. Ellis was right, although he does not attempt to explain the phenomenon. . . . Wagner is the first musician-writer to come to mind, for whether he could or not, Wagner certainly did write. He wrote not only the texts for his lyric dramas, but also countless papers, manifestoes, explanations, arguments, etc., most of which have been carefully collected and which Mr. William Ashton Ellis has rendered to us in eight volumes of faithful, if not very distinguished, English prose. Several collections of letters and the posthumous Life make a formidable total. Indubitably, priceless facts, brilliant ideas, withal somewhat incoherently and contradictorily expressed, lie buried in this mass of matter. Biographers have found this material useful; music critics occasionally turn to it for information; others generally leave it alone. Wagner, indeed, was always at a disadvantage when he wrote in words. Even the plays rise to no inspired heights without the music. Compare the direct and moving music of the love scene in the second act of Tristan with the metaphysical sentiments which flow from the lips of the guilty pair. Wagner's prose works, with their equivo-