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 style 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.