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Updated: May 11, 2025
My own case is a specially hard one, because, when I implore the critics who are obsessed with the Schopenhaurian formula to remember that playwrights, like sculptors, study their figures from life, and not from philosophic essays, they reply passionately that I am not a playwright and that my stage figures do not live.
Old Ben Flint's philosophy pounded into him, at times literally with a solid and well-deserved paternal cuff, could be summed up in the eternal dictum: "That which thou hast to do, do it with all thy might." It was the beginning and end of his rule of life. He looked not, nor thought of looking, further. And now came this Schopenhaurian with his question. "What's the good of it?"
It is clear after this utterance from the would-be Schopenhaurian, that Wagner's explanations of his works for the most part explain nothing but the mood in which he happened to be on the day he advanced them, or the train of thought suggested to his very susceptible imagination and active mind by the points raised by his questioner.
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