e are violated, and that which is most
sublime can no longer be achieved.

54.

The general heaving, undulating and rolling of Wagner's art.

55.

In regard to Wagner's rejection of form, we are reminded of Goethe's
remark in conversation with Eckermann: "there is no great art in being
brilliant if one respects nothing."

56.

Once one theme is over, Wagner is always embarrassed as to how to
continue. Hence the long preparation, the suspense. His peculiar
craftiness consisted in transvaluing his weakness into virtues.--

57.

The _lack_ of melody and the poverty of melody in Wagner. Melody is a
whole consisting of many beautiful proportions, it is the reflection of a
well-ordered soul. He strives after melody; but if he finds one, he almost
suffocates it in his embrace.

58.

The natural nobility of a Bach and a Beethoven, the beautiful soul (even
of a Mendelssohn) are wanting in Wagner. He is one degree lower.

59.

Wagner imitates himself again and again--mannerisms. That is why he was the
quickest among musicians to be imitated. It is so easy.

60.

Mendelssohn who lacked the power of radically staggering one (incidentally
this was the talent of the Jews in the Old Testament), makes up for this
by the things which were his own, that is to say: freedom within the law,
and noble emotions kept within the limits of beauty.

61.

_Liszt_, the first _representative_ of all musicians, but _no musician_.
He was the prince, not the statesman. The conglomerate of a hundred
musicians' souls, but not enough of a personality to cast his own shadow
upon them.

62.

The most wholesome phenomenon is _Brahms_, in whose music there is more
German blood than in that of Wagner's. With these words I would say
something complimentary, but by no means wholly so.

63.

In Wagner's writings there is no greatness or peace, but presumption. Why?

64.

_Wagner's Style._--The habit he acquired, from his earliest days, of having
his say in the most important matters without a sufficient knowledge of
them, has rendered him the obscure and incomprehensible writer that he is.
In addition to this he aspired to imitating the witty newspaper article,
and finally acquired that presumption which readily joins hands with
carelessness "and, behold, it was very good."

65.

I am alarmed at the thought of how much pleasure I could find in Wagner's
style