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предсказуемо не может обходиться без постоянных отсылок к опере и в частности к Вагнеру.
His [poet's] lazy habit of only reading what he likes will at least have taught him one lesson, that to be worth attacking a book must be worth reading. The greatest critical study of a single figure that I know of, The Case of Wagner, is a model of what such an attack should be. Savage as he often is,Nietzsche never allows the reader to forget for one instant that Wagner is an extraordinary genius and that, for all which may be wrong with it, his music is of the highest importance. Indeed it was this book which first taught me to listen to Wagner, about whom I had previously held silly preconceived notions.

Auden, "The Dyer's Hand and Other Essays", "Making, Knowing and Judging. An Inaugural Lecture Delivered before the University of Oxford on 11 June 1956"


Presently the curtain rises on a scene rather like the finale to Act II of Die Meistersinger. Let us call it The Gathering of the Apprentices. The apprentices gather together from all over and discover that they are a new generation; somebody shouts the word "modem" and the riot is on.
ibid.

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