[547W-{50-1/51} Opera and Drama: PW Vol. II, p. 346]
[P. 346] {FEUER} “ These Melodic Moments, in themselves adapted to maintain our Feeling at an even height, will be made by the orchestra into a kind of guides-to-Feeling (Gefuehlsweigweisern) through the whole labyrinthine (vielgewundenen) building of the drama. At their hand we become the constant fellow-knowers of the profoundest secret of the poet’s Aim, the immediate partners in its realisement.” [547W-{50-1/51} Opera and Drama: PW Vol. II, p. 346]
[548W-{50-1/51} Opera and Drama: PW Vol. II, p. 347]
[P. 347] “These Melodic Moments – in which we remember a Foreboding, whilst they turn our Remembrance into a prophecy – will necessarily have blossomed only from the weightiest motives of the drama … . In these root-motives, which are no mere ‘sentences’ but plastic moments-of-Feeling, the poet’s Aim comes out the clearest, as realised through its adoption into Feeling; wherefore the musician, as the realiser of the poet’s aim, has to take these motives, already condensed to melodic moments, and order them so deftly and in fullest accordance with the poetic aim, that their necessary play of repetition will furnish him quite of itself with the highest unity of musical Form, -- a Form which the musician has hitherto put together at his own caprice, but through the poet’s aim can for the first time shape itself into a necessary, a truly unitarian, i.e. an understandable one.” [548W-{50-1/51} Opera and Drama: PW Vol. II, p. 347]
[549W-{50-1/51} Opera and Drama: PW Vol. II, p. 348-349]
[P. 348] {FEUER} “Let us once more sum up this whole matter in one [P. 349] exhaustive definition, and denote the most perfect Unity of artistic Form as that in which a widest conjuncture of the phenomena of Human Life – as Content – can impart itself to the Feeling in so completely intelligible an Expression, that in all its ‘moments’ this Content shall completely stir, and alike completely satisfy, the Feeling. The Content, then, has to be one that is ever present in the Expression, and therefore the Expression one that ever presents the Content in its fullest compass; for only Thought can grasp the absent [fernen?], but only the present can be grasped by Feeling.In this unity of the Expression, ever making present, and ever embracing the full compass of the Content, there is at like time solved, and solved in the only decisive way, the … problem of the unity of Time and Space.“ [549W-{50-1/51} Opera and Drama: PW Vol. II, p. 348-349]
[550W-{50-1/51} Opera and Drama: PW Vol. II, p. 350]
[P. 350] {FEUER} “In the singlest Space and the most compact Time one may spread out an Action as completely discordant and disconnected as you please … . On the contrary, the Unity of an Action consists in its intelligible connexion; and only through one thing can this reveal itself intelligibly, -- which thing is neither Time nor Space, but the Expression. (…) The limitations of Space and Time, which arose from lack of this Expression, are upheaved at once by its acquirement; both Time and Space are annihilated, through the actuality of the Drama.
{FEUER} The genuine Drama, then, is influenced no longer by aught that lies outside it; but it is an organic Be-ing and Becom-ing, evolving and shaping itself by those inner conditions which itself lays down for its only contact with outside … .” [550W-{50-1/51} Opera and Drama: PW Vol. II, p. 350]
