agner music-drama, and even susceptible of fugal treatment. Literature is the common ground of many arts, and in its highest development, such as the drama as practised in fifth-century Athens, is found allied to music, dancing, and colour. Hence, I have called my works "Symphonies," when they are really dramas of the soul, and hence, in them I have used colour for verity, for ornament, for drama, for its inherent beauty, and for intensifying the form of the emotion that each of these poems is intended to evoke.
Let us take an artist, a young man at the outset of his career. His years of searching, of fumbling, of other men's influence, are coming to an end. Sure of himself, he yet sees that he will spend all his life pursuing a vision of beauty which will elude him at the very last. This is the first symphony, which I have called the "Blue," because blue suggests to me depth, mystery, and distance.
He finds himself alone in a great city, surrounded by noise and clamour. It is as if m
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