[551W-{50-1/51} Opera and Drama: PW Vol. II, p. 352]
[P. 352] {FEUER} “… so long as a virtue is demanded, it will never in truth be exercised. Either the exercise of this virtue was an act despotically imposed – and thus without that merit of virtue imagined for it; or it was a necessary, an unreflective act of free-will, and then its enabling force was not the self-restricting Will, -- but Love.” [551W-{50-1/51} Opera and Drama: PW Vol. II, p. 352]
[552W-{50-1/51} Opera and Drama: PW Vol. II, p. 353]
[P. 353] “… self-restriction of either the Poet or the Musician, in its ultimate consequences, would only bring about the drama’s death, or rather, would withstand its ever being brought to life. (…) If Poet and Musician, however, do not restrict each other, but rouse each other’s powers into highest might, by Love; if in this Love they are all that ever they can be; if they mutually go under in the offering that each brings each, -- the offering of his very highest potence, -- then the Drama in its highest plenitude is born.” [552W-{50-1/51} Opera and Drama: PW Vol. II, p. 353]
[553W-{50-1/51} Opera and Drama: PW Vol. II, p. 353-554]
[P. 353] {FEUER} “If the poet’s Aim … is still at hand and visible, then it has not as yet gone under into the Musical Expression; but if the musician’s Expression – as such – is still apparent, then it, in turn, has not yet been inspired by the Poetic Aim. (…)
[P. 354] To the poet let us say, that if his Aim – in so far as it is to be displayed to the ear – cannot be entirely realised in the Expression of his musician ally, then neither is it a highest Poetic Aim at all; that wherever his Aim is still discernible, he has not completely poetised it; and therefore, that he can only measure the height of poetry to which his Aim has reached, by the completeness wherewith it is realisable in the musical Expression.” [553W-{50-1/51} Opera and Drama: PW Vol. II, p. 353-554]
[554W-{50-1/51} Opera and Drama: PW Vol. II, p. 355-356]
[P. 355] “The Poet and Musician, whom we mean, are very well thinkable as two persons. In fact the Musician, in his practical intermediation between the poetic aim and its final bodily realisement through an actual scenic representation, might necessarily be conditioned by the Poet as a separate person, and indeed, a younger than himself – if not necessarily in point of years, yet at least in point of character. This younger person, through standing closer to Life’s instinctive utterance – especially (auch) in its lyric moments, -- might well appear to the more experienced, more reflecting Poet, as more fitted to realise his aim than he himself is; and from this his natural inclination towards the younger, the more buoyant man – so soon as the latter took up with willing enthusiasm the poetic-aim imparted to him by the older – there would bloom that fairest , noblest Love, which we have learnt to recognise as the enabling force of Art-work. (…) Through this bent, incited in another, the Poet himself would win an ever waxing warmth toward his begettal, which must needs determine him to the helpfulest [P. 356] interest in the birth itself. Just the twofold energy of this Love must needs exert an infinite artistic force, inciting, enkindling, and empowering on every hand.“ [554W-{50-1/51} Opera and Drama: PW Vol. II, p. 355-356]
