[208] ‘Alberich’s seductive appeal to the water-sprites makes prominent the hard, mordant sound of N, so well corresponding in its whole essence to the negative power in the drama, inasmuch as it forms the sharpest contrast to the soft W of the water-spirits. Then when he prepares to climb after the maidens, the alliance of the Gl and Schl with the soft, gliding F marks most forcibly the gliding off the slippery rock. In the appropriate Pr (Fr), Woglinde as it were shouts “Good luck to you!” (Prosit) when Alberich sneezes.’—Cited by Hanslick, Musikalische Stationen, p. 255.
[209] Legrand du Saulle terms the persecutor who believes himself persecuted, ‘persécuté actif.’ See his fundamental work: Le Délire des Persécutions. Paris, 1871, p. 194.
[210] Wagner, Das Judenthum in der Musik. Ges. Schr. Band V., p. 83. Aufklärungen über das Judenthum in der Musik. Band VIII., p. 299.
[211] Wagner, Deutsche Kunst und Deutsche Politik. Ges. Schr. Band VIII., p. 39. Was ist Deutsche? Band X., p. 51 et passim.
[212] Wagner, Religion und Kunst. Ges. Schr. Band X., p. 311.
[213] Offenes Schreiben an Herrn Ernst von Weber, Verfasser der Schrift. Die Folterkammern der Wissenschaft. Ges. Schr. Band X., p. 251.
[214] A game of cards to which Teutomaniacs are much addicted.
[215] F. Paulhan, Le nouveau Mysticisme. Paris, 1891, p. 104.
[216] Legrain, op. cit., p. 175: ‘The need for the marvellous is almost always inevitable among the weak-minded.’
[217] Sar Mérodack J. Péladan, Amphithéatre des Sciences mortes. Comment on devient Mage. Éthique. Avec un portrait pittoresque gravé par G. Poirel. Paris, 1892.