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 “Götterdämmerung,” 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 with 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