Note 324 — Chapter II · THE ARTIST IN THEORY
Reading edition
The only other element introduced is the song of the Norwegian sailors from the last Act, which, however good in itself, is perhaps a superfluity in the overture,—a slight concession to that passion for reproducing the details of the drama that Wagner reprobated in others. The true symbolic conflict of the governing desires and principles of the opera can and should be all suggested in the music of Senta and the Dutchman.