personality and introduce into the drama a really human interest.
Poor Wotan! His title of monarch of the gods, his lance, the mystery of his single eye, confer on him a seeming majesty. But strip him of these external attributes, and what a fall is there! From beginning to end his role is nothing but one long lament. And what does he lament? Some misfortune that has befallen him? Not at all, but his faults, and especially the fundamental irresolution of his mind, which knows not how to will or to refuse. In a mere mortal this complaining would be wearisome. Is it less so in a god? One may certainly say that it is very incongruous on his lips. Treated in a humorous or satiric vein the character might be excellent. This upholder of order who proclaims himself weary and disgusted with order, and who yet defends it by his acts while undermining it by his words, this monarch who is constantly saying or insinuating to those whom he believes capable of strong action, "Overthrow me! But take care how you go about it, it's not easily done!" who secretly puts the means of doing so in their way, and who when the scheme fails shows himself merciless in repression from fear of his conservative wife—this is a type that might be very successful if done in the style of Aristophanes. It is certainly not from this point of view that Wagner has drawn him; he has made up his mind to attribute greatness to him, a greatness superior to that of gods and kings who believe in the principles of their trade as rulers and who practise it with conscience and conviction. But why should I pretend not to understand? Wotan is indeed great from the point of view of anarchist philosophy. For such a philosophy what is next greatest after the open and
