OF THE BEAUTIFUL. 81 



a place by itself in the artistic scale. It follows from 

 this that any admixture of other forms of artistic ex- 

 pression is against the highest ideal of music. Thus 

 Schopenhauer condemns, by anticipation, the part which, 

 in the later musical schools of the nineteenth century, 

 the human voice, song and language, played, notably in 

 the compositions of Eichard Wagner. Wagner has 

 nevertheless paid a high tribute to the teaching of 

 Schopenhauer. In his book on Beethoven — published 

 on the occasion of the centenary of Beethoven's birth 

 in 1870 — he says: "Schopenhauer was the first to 

 recognise and define, with philosophical clarity, the 

 relation of music to the other fine arts, inasmuch as 

 he assigns to it a unique character quite different from 

 that of the plastic and poetical arts." And Wagner 

 proceeds to say that Beethoven himself could not be 

 fathomed without a solution of that deep-lying paradox 

 which Schopenhauer has pointed out. This paradox 

 consists in the assertion that music reveals the essence 

 of things, not the world-ideas (the different objectivations 

 of the will), being " itself an idea of the world," so that 

 " whoever could translate music completely into thoughts 

 would in doing so have produced a philosophy which ex- 

 plains the world." And Kuno Fischer says : " Music in 

 a manner comparable with language — being the only 

 language which everyone understands — demands a 

 grammar and a dictionary. Grammar teaches how 

 to form words and sentences, the dictionary teaches 

 what the words signify. The grammar of music is 

 the theory of harmony. . . . But the dictionary of 

 music came later. Schopenhauer claims to have given 



VOL. IV. F 



