th it the drama
is a genuine relief.--Is the fact that this music when heard alone, is, as
a whole intolerable (apart from a few intentionally isolated parts) in its
_favour_? Suffice it to say that this music without its accompanying
drama, is a perpetual contradiction of all the highest laws of style
belonging to older music: he who thoroughly accustoms himself to it, loses
all feeling for these laws. But has the drama _been improved_ thanks to
this addition? A _symbolic interpretation_ has been affixed to it, a sort
of philological commentary, which sets fetters upon the inner and free
understanding of the imagination--it is tyrannical. Music is the language
of the commentator, who talks the whole of the time and gives us no
breathing space. Moreover his is a difficult language which also requires
to be explained. He who step by step has mastered, first the libretto
(language!), then converted it into action in his mind's eye, then sought
out and understood, and became familiar with the musical symbolism
thereto: aye, and has fallen in love with all three things: such a man
then experiences a great joy. But how _exacting_! It is quite impossible
to do this save for a few short moments,--such tenfold attention on the
part of one's eyes, ears, understanding, and feeling, such acute activity
in apprehending without any productive reaction, is far too
exhausting!--Only the very fewest behave in this way: how is it then that
so many are affected? Because most people are only intermittingly
attentive, and are inattentive for sometimes whole passages at a stretch;
because they bestow their undivided attention now upon the music, later
upon the drama, and anon upon the scenery--that is to say they _take the
work to pieces_.--But in this way the kind of work we are discussing is
condemned: not the drama but a moment of it is the result, an arbitrary
selection. The creator of a new _genre_ should consider this! The arts
should not always be dished up together,--but we should imitate the
moderation of the ancients which is truer to human nature.

52.

Wagner reminds one of lava which blocks its own course by congealing, and
suddenly finds itself checked by dams which it has itself built. There is
no _Allegro con fuoco_ for him.

53.

I compare Wagner's music, which would fain have the same effect as speech,
with that kind of sculptural relief which would have the same effect as
painting. The highest laws of styl