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.