For that is obviously the reason why Richard Wagner all at once went over to Schopenhauer (persuaded thereto, as one knows, by a poet, Herwegh), went over so completely that there ensued the cleavage of a complete theoretic contradiction between his earlier and his later æsthetic faiths-the earlier, for example, being expressed in Opera and Drama, the later in the writings which he published from 1870 onwards. In particular, Wagner from that time onwards (and this is the volte-face which alienates us the most) had no scruples about changing his judgment concerning the value and position of music itself.
zeren, begibistan dagoenez, horregatik batez ere iragan baitzen Richard Wagner Schopenhauerrengana (poeta batek, jakina denez, Herwegh-ek konbentziturik), eta hori halako punturaino, non erabateko kontraesan teorikoa sortu zen haren aurreko eta ondorengo sinesmen estetikoaren artean,-lehena, adibidez, "Opera eta drama"n adierazia, eta azkena, 1870az geroztik argitaratutako idatzietan. Bereziki, eta hori da agian gehien harritzen duena, Wagnerrek, hemendik aurrera, begirunerik txikienik ere gabe aldatzen du musikaren beraren balioa eta lekuari buruzko bere epaia: