term can only have the meaning, [P. 27] in my argument, of the direct antithesis to ‘Gedanken’ (Thought), or – which will make my purport clearer – to Gedanklichkeit’ (Ideation): its absolute misunderstanding would certainly be difficult, seeing that the two opposite factors, Art and Learning, must readily be recognised herein. But since, in ordinary parlance, this word is employed in the evil sense of ‘Sensualism,’ or even of abandonment to Sensual Lust, it would be better to replace it by a term of less ambiguous meaning, in theoretical expositions of so warm a declamatory tone as these of mine, however wide a currency it has obtained in philosophical speech. Obviously, the question here is of the contrast between intuitive and abstract knowledge … . (…)
{FEUER} But the greatest peril of all, is that which the author would incur by his frequent use of the word Communism, should he venture into the Paris of to-day with these art-essays in his hand; for he openly proclaims his adherence to this severely scouted category, in contradistinction to Egoism. I certainly believe that the friendly German reader, to whom the meaning of this antithesis will be obvious, will have no special trouble in overcoming the doubt as to whether he must rank me among the partisans of the newest Parisian ‘Commune.’ Still, I cannot deny that I should not have embarked with the same energy upon the use of this word ‘Communism’ (employing it in [P. 28] a sense borrowed from the said writings of Feuerbach) as the opposite of Egoism; had I not also seen in this idea a socio-political ideal which I conceived as embodied in a ‘Volk’ (People) that should represent the incomparable productivity of antique brotherhood, while I looked forward to the perfect evolution of this principle as the very essence of the associate Manhood of the Future.” [819W-{1-3/72} Introduction to ‘Art and Revolution,’ ‘The Artwork of the Future,’ and ‘Opera and Drama’: PW Vol. I, p. 26-28]
[820W-{3/12/72}CD Vol. I, p. 466]
[P. 466] {FEUER} “Siegfried lives entirely in the present, he is the hero, the finest gift of the will.” [820W-{3/12/72}CD Vol. I, p. 466]
[821W-{3/17/72}CD Vol. I, p. 468]
[P. 468] {FEUER} “R. says he is very tired of composing, he has already done so much, and on the arrival of Siegfried’s corpse he could in fact just write in the score, ‘see ‘Tristan,’ Act III.” [821W-{3/17/72}CD Vol. I, p. 468]
[822W-{4/19/72}CD Vol. I, p. 478]
[P. 478] {FEUER} “When yesterday R. went into his workroom to fetch a book and light a fire, he spoke about this great discovery, which at once places human beings on the level of the gods, which banishes the night; and how rightly and beautifully the Greeks had distilled it all in the legend of Prometheus – the bringing of fire.” [822W-{4/19/72}CD Vol. I, p. 478]
[823W-{5/25/72}CD Vol. I, p. 490]
[P. 490] “R. rests a bit, we once more discuss the Jewish question, since the Israelite participation in the Berlin Wagner Society leaves us with a very bad taste. R. says he still hopes that this whole phenomenon is a sickness which will disappear; an amalgamation is impossible, and we cannot
