about changing his judgment concerning the value and position of music itself. What did he care if up to that time he had made of music a means, a medium, a "woman," that in order to thrive needed an end, a man—that is, the drama? He suddenly realised that more could be effected by the novelty of the Schopenhauerian theory in majorem musicae gloriam—that is to say, by means of the sovereignty of music, as Schopenhauer understood it; music abstracted from and opposed to all the other arts, music as the independent art-in-itself, not like the other arts, affording reflections of the phenomenal world, but rather the language of the will itself, speaking straight out of the "abyss" as its most personal, original, and direct manifestation. This extraordinary rise in the value of music (a rise which seemed to grow out of the Schopenhauerian philosophy) was at once accompanied by an unprecedented rise in the estimation in which the musician himself was held: he became now an oracle, a priest, nay, more than a priest, a kind of mouthpiece for the "intrinsic essence of things," a telephone from the other world—from henceforward he talked not only music, did this ventriloquist of God, he talked metaphysic; what wonder that one day he eventually talked ascetic ideals!
6.
Schopenhauer has made use of the Kantian treatment of the aesthetic problem—though he certainly did not regard it with the Kantian eyes. Kant thought that he showed honour to art when he favoured and placed in the foreground those of the predicates of the beautiful, which
