Where did the stereotype of Wagner having bad poetry come from?

[Anonymous No.19522053]

people who respected Wagner's poetry:
>Whitman, Baudelaire, Swinburne, Mallarme, Nietzsche, Dujardin, Yeats, Jung, Joyce, Eliot, Schmitt, Auden, Adorno etc.

people who didn't:
>some random new york times journalist

[Anonymous No.19522087]

>>19522053
Andrew Porter made the English translation of the Ring Cycle for Goodall's recording. He also made translations for Tristan and one other. There are also earlier translations of the works.

[Anonymous No.19522735]

>>19522053
What stereotype?

[Anonymous No.19523939]

wtf is going on, this is the third Wagner thread I'm seeing?!?!?!?1

[Anonymous No.19523943]

>>19522053
>Where did the stereotype of Wagner having bad poetry come from?
>Stereotype

[Anonymous No.19525177]

>>19522053
Wagner was Klingon? Based

[Anonymous No.19525577]

>>19522053
>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

[Anonymous No.19525587]

>>19522053
>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

[Anonymous No.19525600]

>>19525587
>Weia! Waga! Woge, du Welle, walle zur Wiege! Wagalaweia! Wallala weiala weia!

>In his open letter to Friedrich Nietzsche of 12 June 1872 Wagner explained that Woglinde’s opening gambit is based on OHG heilawâc ( = water drawn from a river or well at some divinely appointed hour), recast by analogy with the eia popeia ( = hushabye) of children’s nursery rhymes.
>In conversation with Cosima, Wagner described this passage as ‘the world’s lullaby’ (CT, 17 July 1869), a reading already suggested by Opera and Drama, where the composer imputes the birth of language to a melodic vocalization.

[Anonymous No.19526238]

>>19523939
>third Wagner thread, I'm seething?!?!?!?!1

[Anonymous No.19526697]

>>19522053
Don't forget Weininger.

>the music of "Parsifal" which to genuine Jews will ever remain as unapproachable as its poetry

[Anonymous No.19526702]

>>19522053
Comes from the jews

[Anonymous No.19527867]

[Anonymous No.19527984]

>>19522053
Parsifal easily has the greatest dramaturgical history of any play.

[Anonymous No.19527991]

>>19527984

[Anonymous No.19528451]

>>19526702
yawn