[526W-{50-1/51} Opera and Drama: PW Vol. II, p. 218]
[P. 218] {FEUER} “Nature in her actual reality is only seen by the Understanding, which de-composes her into her separatest of parts; if it wants to display to itself these parts in their living organic connexion, then the quiet of the Understanding’s meditation is involuntarily displaced by a more and more highly agitated mood, which at last remains nothing but a mood of Feeling. In this mood, Man unconsciously refers Nature once more to himself … . In Feeling’s highest agitation, Man sees in Nature a sympathising being … .” [526W-{50-1/51} Opera and Drama: PW Vol. II, p. 218]
[527W-{50-1/51} Opera and Drama: PW Vol. II, p. 224]
[P. 224] {FEUER} “The primal organ-of-utterance of the inner man … is Tone-speech, as the most spontaneous expression of the inner Feeling stimulated from without.” [527W-{50-1/51} Opera and Drama: PW Vol. II, p. 224]
[528W-{50-1/51} Opera and Drama: PW Vol. II, p. 231]
[P. 231] {FEUER} “ … in our modern evolution it was altogether consequent, that the Feeling should have sought a refuge from absolute intellectual-speech by fleeing to absolute tone-speech, our Music of to-day.” [528W-{50-1/51} Opera and Drama: PW Vol. II, p. 231]
[529W-{50-1/51} Opera and Drama: PW Vol. II, p. 233-234]
[P. 233] {FEUER] “The poet can only hope to realise his Aim, from the instant when he hushes it and keeps it secret to himself: that is to say, when, in the language [P. 234] wherein alone it could be imparted as a naked intellectual-aim, he no longer speaks it out at all. (…)
{FEUER} A Tone-speech to be struck-into from the outset, is therefore the organ of expression proper for the poet who would make himself intelligible by turning from the Understanding to the Feeling … .” [529W-{50-1/51} Opera and Drama: PW Vol. II, p. 233-234]
[530W-{50-1/51} Opera and Drama: PW Vol. II, p. 235]
[P. 235] {FEUER} “If we now pry a little closer into the Poet’s business, we shall see that the realisement of his Aim consists solely in the making possible an exhibition of the ‘strengthened actions’ of his characters (seiner gedichteten Gestalten) through an exposition of their motives to the Feeling … .
{FEUER} (…) The Understanding is there-fore driven by necessity to wed itself with an element which shall be able to take-up into it the poet’s Aim as a fertilising seed, and so to nourish and shape this seed by its own, its necessary essence, that it may bring it forth as a realising and redeeming utterance of Feeling.
{FEUER} This element is that same mother-element, the womanly, from whose womb – the ur-melodic expressional-faculty, -- there issued Word and Word-speech, so soon as it was fecundated by the actual outward-lying objects of Nature; just as the Understanding throve from out the Feeling, and is thus the condensation of this womanly into a manly, into an element fitted to impart.” [530W-{50-1/51} Opera and Drama: PW Vol. II, p. 235]
