[198] Sollier, op. cit., p. 101.
[199] Lombroso, Genie und Irrsinn, p. 214 et seq.
[200] Wagner, Ges. Schriften, Band X., p. 222.
[201] Rubinstein, Musiciens modernes. Traduit du russe par M. Delines. Paris, 1892.
[202] The Origin and Function of Music: Essays, Scientific, Political and Speculative. London: Williams and Norgate, 1883; vol. i., p. 213 et seq.
[203] E. Hanslick, op. cit., p. 233: ‘As the dramatis personæ in “music-drama” are not distinguished by the character of the melodies they sing, as in ancient opera (Don Juan and Leporello, Donna Anna and Zerlina, Max and Caspar), but all resemble each other in the physiognomic pathos of the tones of their speech, Wagner aims at replacing this characteristic by so-called leit-motifs in the orchestra.’
[204] Wagner, Ueber die Anwendung der Musik auf das Drama. Ges. Schriften, Band X., p. 242.
[205] Lombroso, Genie und Irrsinn, p. 225.
[206] Ibid., op. cit., p. 226.
[207] Wagner, Religion und Kunst. Ges. Schr., Band X., p. 307, note: ‘The author here expressly refers to A. Gleizès’ book, Thalysia oder das Heil der Menschheit.... Without an exact knowledge of the results, recorded in this book, of the most careful investigations, which seem to have absorbed the entire life of one of the most amiable and profound of Frenchmen, it might be difficult to gain attention for ... the regeneration of the human race.’