higher rank than thinking, to wit, the instinctive knowledge of a thought made real in Emotion.” [542W-{50-1/51} Opera and Drama: PW Vol. II, p. 329-330]
[543W-{50-1/51} Opera and Drama: PW Vol. II, p. 330-331]
[P. 330] “A foreboding is the herald of an emotion as yet unspoken-out, because as yet Unspeakable … . Unspeakable, is any emotion which is not as yet defined; and it is undefined, so long as [P. 331] it has not been yet determined through a living object. The first thrill of this emotion, the Foreboding, is thus its instinctive longing for definement through an object … . (…) Such a presentiment as this, has the poet to wake within us, in order, through its longing, to make us necessary sharers in the creation of his artwork.” [543W-{50-1/51} Opera and Drama: PW Vol. II, p. 330-331]
[544W-{50-1/51} Opera and Drama: PW Vol. II, p. 337]
[P. 337] {FEUER} “By leading forth his Artwork in continuous organic growth, and making our selves organic helpers in that growth, the poet frees his creation from all traces of his handiwork; whereas, should he leave those traces unexpunged, he would set us in that chill of feelingless amazement which takes us when we look upon a masterpiece of mechanism.” [544W-{50-1/51} Opera and Drama: PW Vol. II, p. 337]
[545W-{50-1/51} Opera and Drama: PW Vol. II, p. 338-339]
[P. 338] {FEUER} Now, the poet who wishes to make of us the active witnesses and sole enablers of his artwork’s Becoming (Werdens), has to guard himself from taking even the smallest step that might break the bond of this organic growth (Werdens) and thus affront our captivated Feeling by an arbitrary demand … . Organic Growth, however, means a growing from below upwards, an advance from lower to higher forms of organism, a binding of needy moments into one satisfying moment. (…) {FEUER} He has therefore to show his characters at first in predicaments (Lebenslagen) having a recognisable likeness with such as we have found, or at least might have found, ourselves in; only from such a foundation, can he mount step by step to situations whose force and wondrousness remove us from the life of [P. 339] everyday, and show us Man in the highest fulness of his power.” [545W-{50-1/51} Opera and Drama: PW Vol. II, p. 338-339]
[546W-{50-1/51} Opera and Drama: PW Vol. II, p. 344-345]
[P. 344] {FEUER} “If … we wish to accurately denote that Means of Expression which, in virtue of its own unity, shall make possible a Unity of Content, let us define it as one which can the most fittingly convey to Feeling a widest-reaching Aim of the poetic Understanding. Such an Expression [P. 345] must contain the poet’s Aim in each of its separate ‘moments,’ albeit in each of them concealing that aim from the Feeling, -- to wit, by realising it.” [546W-{50-1/51} Opera and Drama: PW Vol. II, p. 344-345]
