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By Max Graf

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It abounds To an even in multiple colors and, in fantastic descriptions, allows the colors to run down the canvas, similar to Delacroix and Delaroche, his intellectual next-of-kin. In trying to establish which scenes from Goethe's "Faust" Hector Berlioz used for his "Damnation of Faust", one finds only those which permit of graphic portrayal. The color fancy of Berlioz, and his translation of poetic spheres into painting, colorful description and portrayal, is totally different from the tonal nar- Franz Liszt, which were inspired by literary and philosophical culture.

In primitive times the witchdoctors were the original musicians. The temple priests in Babylon and Egypt, in India and China, in Asia Minor and in Greece were the compos- and poets of hymns dedicated to the gods. Plato considered the poet as being inspired by God. In the ers first stanza of his Apollo; Milton Even in "Comedia Divina", Dante calls to Urania modern times supplicates in "Paradise Lost". poets like Blake, Wordsworth, Victor Hugo, Alfred de Vigny and Arthur Rimbaud look upon a poet as a seer who proclaims divine wisdom in a realistic world.

Way different Classical sensuality sensuality is restrained When sensuality of classical musicians [48] is transformed CLASSICAL AND ROMANTIC FANTASY and penetrates the musical imagination, into tones, becomes it melodic wholly sounding patterns, figures 3 musical of romantic In play purely fantasy. sensuality this concentration is lacking, as is the uniform strength. Romantic sensuality branches out into various paths; it divided into different parts, it causes oscillations in spiritual life without being able to assemble it in a is The composers begin to philosophize, or to or to narrate, paint Like their art, their lives are without firm, roots.

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