for emotion which
arises from fatigue and the love of fatigue.--All this is understood by the
Wagnerites.

42.

_Stupefaction or intoxication_ constitute all Wagnerian art. On the other
hand I could mention instances in which Wagner stands _higher_, in which
real joy flows from him.

43.

The reason why the figures in Wagner's art behave so madly, is because he
greatly feared lest people would doubt that they were alive.

44.

Wagner's art is an appeal to inartistic people; all means are welcomed
which help towards obtaining an effect. It is calculated not to produce an
_artistic effect_ but an effect upon the _nerves in general_.

45.

Apparently in Wagner we have an art _for everybody_, because coarse and
subtle means seem to be united in it. Albeit its pre-requisite may be
musico-aesthetic education, and _particularly_ with _moral_ indifference.

46.

In Wagner we find the most ambitious _combination_ of all means with the
view of obtaining the strongest effect whereas genuine musicians quietly
develop individual _genres_.

47.

Dramatists are _borrowers_--their principal source of wealth--artistic
thoughts drawn from the epos. Wagner borrowed from classical music
besides. Dramatists are constructive geniuses, they are not inventive and
original as the epic poets are. Drama takes a lower rank than the epos: it
presupposes a coarser and more democratic public.

48.

Wagner does not altogether trust _music_. He weaves kindred sensations
into it in order to lend it the character of greatness. He measures
himself on others; he first of all gives his listeners intoxicating drinks
in order to lead them into believing that it _was the music that
intoxicated them_.

49.

The same amount of talent and industry which makes the classic, when it
appears some time _too late_, also makes the baroque artist like Wagner.

50.

Wagner's art is calculated to appeal to short-sighted people--one has to
get much too close up to it (Miniature): it also appeals to long-sighted
people, but not to those with normal sight.

_Contradictions in the Idea of Musical Drama._

51.

Just listen to the second act of the "Goetterdaemmerung," without the drama.
It is chaotic music, as wild as a bad dream, and it is as frightfully
distinct as if it desired to make itself clear even to deaf people. This
volubility _with nothing to say_ is alarming. Compared wi