excite us, and thereby to get us again into his power. Listen, how he conjures up the elementary force of tempestuous and thundering rhythms! And now that he perceives how they take hold of us, throttling, and almost crushing us, he again ventures to intertwine his theme with the play of the elements, and to persuade when half-confused and agitated, that our confusion and agitation are the effects of his wondrous theme. And henceforth the audience believe it: on its first repetition they are reminded of that thrilling elementary effect—this reminiscence now comes to the aid of the theme—it has now become “demoniac." What a great discerner of the soul he is! He masters us with the arts of a demagogue. But the music ceases!—B.: I am glad that it does; for I can no longer endure your observations. I should ten times rather be deceived than know the truth after your fashion!—A.: That is what I wanted to learn from you. Just like you, so are all the best minds. You are satisfied with being deceived! You come with coarse, sensuous ears, you have left behind you the conscience of the art of listening, you have, on your way, cast off the finest portion of your honesty. And thereby you spoil both art and artists. Every time you applaud and cheer you have the conscience of the artists in your hands—and alas! if they should notice that you cannot distinguish between inoffensive and offensive music! I do not indeed mean "good" and “bad” music-- in either
