By establishing a principle of identity between Berg and Wagner, this chapter is bound to cause suspicion, as it could rightly be argued that a person's identity is formed by a multitude of factors—including the appropriation of historical or fictional narratives—by which the individual and collective identities are in a constant process of reconfiguration. To single out one element as the most important factor in the formation of one's identity would seem to establish a rather rigid category that overlooks other relational properties in identity formation. To be sure, as is well-known, Berg identified himself overtly with an array of individuals, including Schoenberg and Webern but also Peter Altenberg, Karl Kraus, and Gustav Mahler, among others. The evidence for Berg's identification with these individuals is all too apparent in his music and writing: Berg's adoption of the twelve-tone technique and his obsession with the logic behind musical structures, while they may have been latent traits in his personality, were certainly intensified by his long association with Schoenberg.