[376] Opera and Drama, in G.S., iv. 173.
[377] This term, it must be remembered, is not Wagner's own. It has come into such general use, however, and is so thoroughly expressive, that it is better to employ it than to adopt Wagner's rather circumlocuitous way of expressing the same thing.
[378] The reader who is unable to follow Wagner's exposition in Opera and Drama should turn to A Communication to my Friends, in which practically the same ground is covered, but in a much more luminous style.
[379] E. T. A. Hoffmann before him had been very enthusiastic over Beethoven, and no doubt Wagner had been stimulated by Hoffmann in this as in so many other matters. See in particular Hoffmann's Fantasiestücke.
[380] On Franz Liszt's Symphonic Poems, in G.S., v. 187.
[381] On Franz Liszt's Symphonic Poems, in G.S., v. 109.
[382] It has recently been re-published with an introduction and notes by Dr. Eugen Schmitz. (Verlag Dr. Heinrich Lewy, Munich.)
[383] Zukunftsmusik, in G.S., vii. 97.
[384] Zukunftsmusik, in G.S., vii. 127, 128.
[385] Guido Adler, Richard Wagner: Vorlesungen gehalten an der Universität zu Wien, pp. 3 ff.