He is always thinking of the most extreme expression,—in every word. But in the end superlatives begin to pall.
27.
There is something which is in the highest degree suspicious in Wagner, and that is Wagner's suspicion. It is such a strong trait in him, that on two occasions I doubted whether he were a musician at all.
28.
The proposition: "in the face of perfection there is no salvation save love,"[1] is thoroughly Wagnerian. Profound jealousy of everything great from which he can draw fresh ideas. Hatred of all that which he cannot approach: the Renaissance, French and Greek art in style.
[1] What Schiller said of Goethe.—TR.
29.
Wagner is jealous of all periods that have shown restraint: he despises beauty and grace, and finds only his own virtues in the "Germans," and even attributes all his failings to them.
30.
Wagner has not the power to unlock and liberate the soul of those he frequents: Wagner is not sure of himself, but distrustful and arrogant. His art has this effect upon artists, it is envious of all rivals.