[538W-{50-1/51} Opera and Drama: PW Vol. II, p. 287]
[P. 287] {FEUER} “The Understanding loosens, the Feeling binds; i.e. the Understanding loosens the genus into the antitheses which lies within it, whereas the Feeling binds them up again into one harmonious whole. This unitarian Expression the poet most completely won, at last, in the ascension of his Word-verse into the melody of Song … .” [538W-{50-1/51} Opera and Drama: PW Vol. II, p. 287]
[539W-{50-1/51} Opera and Drama: PW Vol. II, p. 316-317]
[P. 316] {FEUER} “… now, we have plainly to denote this Speaking-faculty of the Orchestra as the faculty of uttering the unspeakable.
(…)
[P. 317] {FEUER} (…) That this Unspeakable is not a thing unutterable per se, but merely unutterable through the organ of our Understanding; thus, not a mere fancy, but a reality, -- this is shown plainly enough by the Instruments of the orchestra themselves, whereof each for itself, and infinitely more richly in its changeful union with other instruments, speaks out quite clearly and intelligibly. [* {FEUER} Wagner’s Footnote: This easy explanation of the ‘Unspeakable,’ one might extend, perhaps not altogether wrongly, to the whole matter of Religious Philosophy; for although that matter is given out as absolutely unutterable, from the standpoint of the speaker, yet mayhap it is utterable enough if only the fitting organ be employed.]” [539W-{50-1/51} Opera and Drama: PW Vol. II, p. 316-317]
[540W-{50-1/51} Opera and Drama: PW Vol. II, p. 324]
[P. 324] “ This faculty [“of uttering the unspeakable”] the ear acquires through the language of the Orchestra, which is able to attach itself just as intimately to the verse-melody as earlier to the gesture, and thus to develop into a messenger of the very Thought itself, transmitting it to Feeling … .” [540W-{50-1/51} Opera and Drama: PW Vol. II, p. 324]
[541W-{50-1/51} Opera and Drama: PW Vol. II, p. 325]
[P. 325] {FEUER} “In the Verse-melody not only is Word-speech combined with Tone-speech, but also the thing which both these organs express: to wit, the absent with the present, the thought with the emotion. The present part of it is the instinctive feeling, in its necessary pour into the musical expression of the melody; the non-present part is the abstract thought, in its bondage to the word-phrase, as an arbitrary moment of reflection.” [541W-{50-1/51} Opera and Drama: PW Vol. II, p. 325]
[542W-{50-1/51} Opera and Drama: PW Vol. II, p. 329-330]
[P. 329] {FEUER} “Music cannot think: but she can materialise thoughts, i.e. she can give forth their emotional contents as no longer merely recollected, but made present. (…) [P. 330] … and inasmuch as we thus make our Feeling a living witness to the organic growth of one definite emotion from out another, we give to it the faculty of thinking: nay, we here give it a faculty of
