It was pompous July and the Van Kuyps were still in Paris.  They lived near Passy—­from her windows high in the air Alixe caught the green at dawn as the sun lifted level rays.  Richard was writing his new tone-poem, which the Societe Harmonique accepted provisionally for the season following.  Sordello had set the town agog because of the exhaustive articles by Rentgen it brought in its wake.  He was a critic who wrote brilliantly of music in the terms of painting, of plastic arts in the technical phraseology of music, and by him the drama was discussed purely as literature.  This deliberate and delicate confusion of aesthetics clouded the public mind.  He described Sordello as a vast mural fresco, a Puvis de Chavannes in tone, a symphonic drama wherein agonized the shadowy AEschylean protagonist.  Even sculpture was rifled for analogies, and Van Kuyp to his bewilderment found himself called “The Rodin of Music”; at other times, “Richard Strauss II,” or a “Tonal Browning”; finally, he was adjured to swerve not from the path he had so wonderfully hewn for himself in the virgin jungle of modern art, and begged to resist the temptations of the music-drama.

Rentgen loathed the music of Wagner.  Wagner had abused Meyerbeer for doing what he did himself—­writing operas stuffed with spectacular effects.  This man of the foot-lights destroyed all musical imagination with his puppet shows, magic lanterns, Turkish bazaars, where, to the booming of mystic bells, the listener was drugged into opium-fed visions.

Under a tent, as at a fair, he assembled the mangled masterpieces of Bach, Gluck, Beethoven, Weber, Schubert, Schumann, Chopin, and to a gullible public sold the songs of these music-lords—­songs that should swim on high like great swan-clouds cleaving skies blue and inaccessible.  And his music was operatic, after all, grand opera saccharine with commonplace melodies gorgeously attired—­nothing more.  Wagner, declared the indignant critic, was not original.  He popularized the noble ideas of the masters, vulgarized and debased their dreams.  He never conceived a single new melody, but substituted instead, sadly mauled and pinched thematic fragments of Liszt, Berlioz, and Beethoven, combined with exaggerated fairy-tales, clothed in showy tinsel and theatrical gauds, the illusion being aided by panoramic scenery; scenery that acted in company with toads, dragons, horses, snakes, crazy valkyrs, mermaids, half-mad humans, gods, demons, dwarfs, and giants.  What else is all this but old-fashioned Italian opera with a new name?  What else but an inartistic mixture of Scribe libretto and Northern mythology?  Music-drama—­fudge!  Making music that one can see is a death-blow to a lofty idealization of the art.

Puzzled by the richness of Rentgen’s vocabulary, by his want of logic, Alixe asked herself many times whether she was wrong and her husband right.  She wished to be loyal.  His devotion to his work, his inspiration springing as it did from poetic sources, counted for something.  Why not?  All composers should read the poets.  It is a starting-point.  Modern music leans heavily on drama and fiction.  Richard Strauss embroiders philosophical ideas, so why should not Richard Van Kuyp go to Ireland, to the one land where there is hope of a spiritual, a poetic renascence?  Ireland!  The very name evoked dreams!