¹ Richard Wagner, ‘The Destiny of Opera’, in Richard Wagner's Prose Works, vol. V, trans. William Ashton Ellis (London: Kegan, Paul, Trench, Trübner & Co., 1896): 144. Subsequent citations from Wagner's collected works will be indicated directly in the text as PW followed by volume and page number.

² Cosima Wagner, Cosima Wagner's Diaries, vol. II, ed. Martin Gregor-Dellin and Dieter Mack, trans. Geoffrey Skelton (New York: Harcourt Brace Jocanovich, 1978): 834, entry dated 29 March 1882. Subsequent citations will appear in-text, abbreviated CD followed by volume, page number and date of entry.

³ Richard Wagner, My Life, vol. I, n.t., (New York: Dodd, Mead and Company, 1911): 34. As above, subsequent in-text citations will be labeled ML, followed by volume and page number.

⁴ The term, first coined by F.S. Boas in 1896, will be discussed in more detail below.

⁵ Winton Dean, writing in 1965, ‘know[s] of nearly 200’ such adaptations, but his list is now more than 50 years out of date. Though dozens of Shakespearean operas have premiered since the time of Dean's writing, none have drawn on Measure for Measure as their source material. For Dean's overview of the topic, as well as an index of the adaptations, see Dean, Winton, ‘Shakespeare in the Opera House’, Shakespeare Survey 18 (1965): 75–93Google Scholar.

⁶ Patrick McCreless, in Wagner's Siegfried: Its Drama, History and Music (Ann Arbor: UMI Research Press, 1982), makes the case for seeing Siegfried as a comedy; however, the argument has also met with its detractors. Indicative criticism of McCreless's claims can be found for example in Michael Mitchell's review of the book, Opera Quarterly 1/3 (1983): 240–41.

⁷ Edgar Istel, ‘Wagner and Shakespeare’, Musical Quarterly 8/4 (1922): 498.

⁸ Nicholas Vazsonyi, Richard Wagner: Self Promotion and the Making of a Brand (New York: Cambridge University Press, 2012): 2.

⁹ Quoted in Dieter Borchmeyer, Drama and the World of Richard Wagner, trans. Daphne Ellis (Princeton: Princeton University Press, 2003): 25. The translation is also Borchmeyer's.

¹⁰ Robert Gutman, Richard Wagner: The Man, His Mind, and His Music (New York: Harcourt, Brace & World, 1968): 55. The words Cosima cites her husband as using are schauderhaft, scheußlich and ekelhaft and can be found in Die Tagebücher, vol. II (1878–1883), ed. Martin Gregor-Dellin and Dietrich Mach (Munich: R. Piper and Co., 1977): 300.

¹¹ Riggs, Geoffrey S., ‘The American Premiere of Das Liebesverbot’, Opera Journal 16/3 (1983): 31Google Scholar.

¹² As the lines read in Die Meistersinger, ‘welschen Dunst mit welschem Tand/sie pflanzen uns in deutsches Land./Was deutsch und echt, wüsst kein mehr . . .’

¹³ Thomas Grey, ‘Musical Background and Influences’, in The Wagner Compendium, ed. Barry Millington (London: Thames and Hudson, 1992): 64–92; Mary Ann Smart, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley: University of California Press, 2004); David Trippett, Wagner's Melodies: Aesthetics and Materialism in German Musical Identity (New York: Cambridge University Press, 2013).

¹⁴ For such stylistic overviews, see, for instance, the first chapter of Borchmeyer's Drama and the World of Richard Wagner; Thomas Grey, ‘Meister Richard's Apprenticeship: The Early Operas (1833–40)’, in The Cambridge Companion to Wagner, ed. Thomas Grey (New York: Cambridge University Press, 2008): 18–46; and Yvonne Nilges, ‘Tradition and the Individual Talent in Wagner's Juvenilia’, in Wagner Outside the Ring: Essays on the Operas, Their Performance and Their Connections with Other Arts, ed. John Louis DiGaetani (Jefferson, NC: McFarlane, 2009): 13–22.

¹⁵ The comments come from Wagner's diary, entry dated 11 October 1865, wherein he asserts ‘ich bin der deutscheste Mench, ich bin der deutsche Geist’. In Das braune Buch: Tagebuchaufzeichnungen 1865 bis 1882, ed. Joachim Bergfeld (Munich: Piper, 1975): 76. Published in English as The Diary of Richard Wagner: The Brown Book 1865–1882, trans. George Bird (New York: Cambridge University Press, 1980): 73.

¹⁶ All citations from the play come from Measure for Measure, The Arden Shakespeare, Third Series, ed. A.R. Braunmuller and Robert N. Watson (New York: Bloomsbury 2020). Where noted, I also rely on the comments of Second Series editor J.W. Lever (Methuen & Co.,1965; rpr. New York: Routledge, 1999).

¹⁷ On legal distinctions in common-law marriage contracts in Shakespeare's England, as well as their direct applicability to the scenario described above, see J.W. Lever's discussion in the Introduction to the play, lii–liv.

¹⁸ Dryden's comments, from his Essay on the Dramatic Poetry of the Last Age (1672), are quoted in Rosalind Miles, The Problem of Measure for Measure: A Historical Investigation (London: Clarke, Doble & Brendon, 1976): 15.

¹⁹ Both Johnson and Coleridge are quoted in J.W. Lever, ‘Introduction’, lv–lvi.

²⁰ Frederick S. Boas, Shakespeare and His Predecessors, 3rd ed. (London: John Murray, 1910): 345.

²¹ Boas, Shakespeare and His Predecessors, 357.

²² Hugo F. Wheeler, Shakespeare's Development and the Problem Comedies: Turn and Counter Turn (Berkeley: University of California Press, 1981): 13. Yvonne Nilges, Richard Wagners Shakespeare (Würzburg: Konigshausen & Neumann, 2007): 63. The theatrum mundi topos, a metaphorical concept which explains the world as if it were a theatre and people as merely actors within a divinely-authored drama, is perhaps best encapsulated by Jacques's famous ‘all the world's a stage’ speech in II.vii of Shakespeare's As You Like It.

²³ E.L. Risden, Shakespeare and the Problem Play: Complex Forms, Crossed Genres and Moral Quandaries (Jefferson, NC: McFarland, 2012): 2. Also indicative in this regard is Igor Shaitanov's discussion of the ‘strange unbalanced form’ of these works in his ‘A Struggle of Genres, or a Dialogue: A Post-Bakhtinean View of Shakespeare's Measure for Measure’, Style 42/4 (2015): 477–93. Regarding Measure for Measure specifically, he suggests that ‘for almost four centuries [it] has frustrated all attempts to pigeonhole it within any existing genre taxonomy’ (p. 482). Ronald R. Macdonald has asserted similarly that ‘it is possible to speculate on the basis of Measure for Measure that Shakespeare was simply becoming impatient with comedy’ in ‘Measure for Measure: the Flesh Made Word’, Studies in English Literature, 1500–1900 30/2 (Spring 1990): 265.

²⁴ Risden, Shakespeare and the Problem Play, 3, 6–7.

²⁵ In Shakespeare's original, Mariana is not explicitly identified as a nun; rather, she is described as living on a nearby farm owned by a different church (III.i.266)

²⁶ Excluding concert performances, recent commercial productions have been mounted by Glimmerglass Opera (New York, 2008); the Staatstheater Braunschweig (Braunschweig, 2009); Helikon Opera (Moscow, 2011); Oper Leipzig (Bayreuth, 2013); Cluj-Napoca Hungarian Opera (Romania, 2015); the Opéra National du Rhin (Strasbourg, 2016); and the Teatro Real (Madrid, 2016). San Francisco's Pocket Opera was to have included a production in their 2020/21 season, though it was cancelled as a result of the coronavirus outbreak. A production by the Leipzig Opera for the same season has since been rescheduled for 2022. The Teatro Real performance, staged by Kasper Holten, was released on DVD and Blu-ray in 2017 (catalogue number OA 7213 D) and is the first commercially available video recording of the work. The staging also travelled to Buenos Aires for performance at the Teatro Colón later in 2017.

²⁷ In many cases, authors do little more than acknowledge Das Liebesverbot's existence. Barry Millington allots hardly more than a page to the opera in The New Grove Guide to Wagner and His Operas (Oxford: Oxford University Press, 2006): 43–4; a more recent article by Michael Halliwell passes over the opera in only two sentences; and of the five pages Roger Paulin devotes to connections between playwright and composer in his lengthy monograph on German Shakespeare reception history, the opera gets only one sentence. Even the most recent editors of the Arden edition of the play mention it only to say that its premiere performance ‘resembled the Marx Brothers’ farcical Night at the Opera’ (p. 130). For Halliwell, see ‘“Blow, Winds, and Crack your Cheeks!” Shakespeare and Wagner’, Context 39 (2014): 5; for Paulin, see The Critical Reception of Shakespeare in Germany 1682–1914: Native Literature and Foreign Genius (New York: Georg Olms, 2003): 428.

²⁸ For an instance of Wagner's referencing the connection between the music as it appears in Das Liebesverbot and again in Tannhäuser, see CD, II: 263; 31 January 1879.

²⁹ Die Feen and Tannhäuser share the große romantische Oper designation, while Rienzi is dubbed a große tragische Oper. Der fliegende Holländer becomes simply a romantische Oper, while Tristan und Isolde is described as a Handlung (‘action’). Following this, Die Meistersinger von Nürnberg is listed as a komische Oper in early drafts and a große komische Oper for later revisions only to wind up an Oper in the printed libretto. The Ring cycle is collectively designated as a Bühnenfestspiel (‘stage-festival-play’) and Parsifal, lastly, is designated as a Bühnenweihfestspiel (‘festival-play for the consecration of the stage’).

³⁰ Though Ellis's translation is somewhat obtuse, the original German is not much better: ‘Das wäre den nun ein recht kunstphilosophischer Titel gewesen, und hätte gut in die Register der künstigen Poloniusse unserer kunstsinnigen Höffe gepaßt’, in Gesammelte Schriften und Dichtungen, vol. 9 (Leipzig: E.W. Fritzsch, 1873): 364.

³¹ The lines appear on II.ii.334–336 in the Revised Edition of the Arden Shakespeare, Third Series, ed. Ann Thompson and Neil Taylor (New York: Bloomsbury, 2016). The Folio also includes ‘tragical-historical’ and ‘tragical-comical-historical-pastoral’.

³² Lydia Goehr, ‘From Opera to Music Drama: Nominal Loss, Titular Gain’, in Richard Wagner and His World, ed. Thomas Grey (Princeton: Princeton University Press, 2009): 66.

³³ Thomas Grey, ‘Richard Wagner and the Legacy of French Grand Opera’, in The Cambridge Companion to Grand Opera, ed. David Charlton (Cambridge: Cambridge University Press, 2003): 323. Emphasis in original.

³⁴ Alessandra Campana, ‘Genre and Poetics’, in The Cambridge Companion to Opera Studies, ed. Nicholas Till (New York: Cambridge University Press, 2012): 213–14. The Schlegel appears in Campana, too. For more on questions of operatic genre classification, see also Thomas Grey, ‘Opera and Music Drama’, in The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge: Cambridge University Press, 2001): 371–423.

³⁵ As is well documented by Wagner and others, the composer's uncle, noted philologist Adolf Wagner, was a prime source in introducing Shakespeare to his young nephew. Adolf, a friend of Ludwig Tieck's, was himself a noted translator and was in fact working on a German-language edition of Anna Jameson's Shakespeare's Heroines: Characteristics of Women, Moral, Political, and Historical (New York: Saunders and Otley, 1832) at the time Richard was setting to work on Das Liebesverbot.

³⁶ Werner Habicht, for instance, has called scholarly and critical attempts to link Shakespeare and Germany a ‘nationalistic topos’ that continued at least through World War II. For more, see ‘The Romanticism of the Schlegel–Tieck Shakespeare and the History of Nineteenth-Century German Shakespeare Translation’, in European Shakespeares: Translating Shakespeare in the Romantic Age, ed. Dirk Delabastita and Lieven D'hulst (Philadelphia: John Benjamins Publishing, 1993): 47.

³⁷ ‘wir wollen ihn verdeutschen, verdeutschen im weitesten und tiefsten Sinne des Worts, d.h., wir wollen nach Kräften dazu beitragen, dass er das, was er bereits ist, ein deutscher Dichter, immer mehr im wahrsten und vollsten Sinne des Worts werde’. Ulrici, Hermann, ‘Jahresbericht’, Shakespeare Jahrbuch 2 (1867): 3Google Scholar. Emphasis in original.

³⁸ ‘sein lebenslange Shakespeare-Fazination als auch für die nicht minder lang währende Abhängigkeit von Quellen zweiter Hand’. Nilges, Shakespeares Wagner, 61–2.

³⁹ Nilges, Shakespeares Wagner, 60–61. For the Shakespearean contents of Wagner's library, see Curt von Westernhagen, Richard Wagners Dresdener Bibliothek 1842–1849: Neue Dokumente zur Geschichte seines Schaffens (Wiesbaden: Brockhaus, 1966): 103. The Richard Wagner Museum at Bayreuth also maintains digital listings for the Dresden and Wahnfried libraries on their website: www.wagnermuseum.de/en/national-archives/departments/.

⁴⁰ See Appendix for a list of German Measure for Measure translations during the time period in question.

⁴¹ Simon Williams, Shakespeare on the German Stage, Vol. 1: 1586–1914 (New York: Cambridge University Press, 1990): 84. As Williams notes in a footnote on the same page, the play was best known to German audiences in an ‘almost unrecognizable adaptation entitled Gerechtigkeit und Rache (Justice and Revenge), by the minor playwright W.H. Brömel’.

⁴² Williams, Simon, ‘Wagner's Das Liebesverbot: From Shakespeare to the Well-Made Play’, Opera Quarterly 3/4 (1985–86): 56CrossRefGoogle Scholar.

⁴³ A diary entry from Cosima notes Wagner's assertion that Gozzi's ideas ‘[correspond] entirely with R's ideas of the theatre’, and that he champions Gozzi's preference for improvisatory theatre over ‘the more literary outlook’ of Carlo Goldoni's plays, CD, I: 541; 13 October 1872. Among his later writings, German Art and German Politics (1867) and On Actors and Singers (1872) demonstrate Wagner's continued interest in the traditions of commedia dell'arte performance by tying the idea of improvisatory theatre to the ‘artwork of the future’. Dieter Borchmeyer has also argued that these traditions carry over to Die Meistersinger. He singles out the ‘stock repertory of characters and motives’ in the work's second act and argues for the indebtedness of Sixtus Beckmesser's characterization to that of the dottore who appears in many commedia scenarios. For more see Drama and the World of Richard Wagner, 198, as well as his earlier Richard Wagner: Theory and Theatre, trans. Stewart Spencer (New York: Oxford University Press, 1991): 271, p. 407.

⁴⁴ David Trippett, ‘Individuation as Worship: Wagner and Shakespeare’, in Berlioz, Verdi, Wagner, Britten: Great Shakespeareans, Vol. 11, ed. Daniel Albright (New York: Bloomsbury, 2012): 147–8.

⁴⁵ Trippett (‘Individuation as Worship’, 219n62) suggests that Brockhaus, eager to ‘maintain the integrity of the collection’ re-purchased a later edition of the plays, which had ‘somehow been detached from the library’, but admits that ‘for the moment no proof has come to light’ to definitively prove such an assertion.

⁴⁶ By the time Wagner was writing Opera and Drama (1851) he had grown to find the iamb distasteful compared to his newfound compositional preference for Versmelodie. He calls the iamb a ‘a five-footed monster [funffüßiges Ungeheuer] to our eyes and—sadly—to our ears’, as ‘offensive to our feeling’, and as a ‘clattering trot [that] must ultimately rob [the hearer] of the last shred of sense and understanding’, PW: II, 242; German ed.: IV, 328–9.

⁴⁷ Of note, she also offers a reading of Die Meistersinger in light of Wieland's translation of A Midsummer Night's Dream, significantly entitled Ein Johannis Nachts-Traum (rather than the more usual Ein Sommernachtstraum), and sees a fundamental connection between Shakespeare and Wagner in this instance as well.

⁴⁸ Norbert Breiner, ‘The Comic Matrix of Early German Shakespeare Translation’, in European Shakespeares, 207.

⁴⁹ Paulin, The Critical Reception of Shakespeare in Germany, 114.

⁵⁰ ‘Overdon war die lezte.’ References to the German translation are from Christoph Martin Wieland, trans., Maaß für Maaß: oder Wie einer mißt, so wird ihm wieder gemessen, ed. Hans and Johanna Radspieler (Zurich: Haffmans, 1993); here II.iii, p. 36. Wieland's translation is entirely in prose, and scene divisions conform to the eighteenth-century (English) editions of Alexander Pope and William Warburton. In the absence of line numbers, subsequent references will be given as page numbers and appear in-text. It may also be worth noting that several other editions at the time opted to translate this line similarly, including Baudissin in the Schlegel–Tieck collection. At least two different translators (Voß and Spina) retain the wordplay however, and Schlegel, in an 1818 modification of Eschenburg's translation, adds a footnote explaining the joke, too. See Appendix for further bibliographic details on these editions.

⁵¹ In a chart comparing Shakespeare's and Wagner's cast of characters, Trippett suggests that Brighella is a substitution for Elbow; see Trippett, ‘Individuation as Workshop’, 143. Edgar Istel argues the same in ‘Wagner and Shakespeare’, 499. Even if some of Elbow's duties seem to fall to Brighella in Das Liebesverbot, this scene clearly demonstrates that he serves as a substitute for Escalus, too.

⁵² The translation is the one offered on the Opus Arte Blu-ray disc (see n26). The original German, as it appears in the score (No. 5, pp. 157–60), is as follows:

⁵³ In the Schlegel–Tieck edition, Pompey (Pompejus) suggests his last name is Pumphose (‘bloomers’, ‘knickers’). The joke then runs similar to the original, with Escalus suggesting ‘An eurer Pumphose habt ihr frielich etwas Großes, und so wäret ihr, wo von hosen die Rede ist, Pompejus der Große’ (You really have something great about [or ‘big in’] your knickers, and so, as far as pants are concerned, you truly are Pompey the Great). In Wieland's translation, after ‘Harlequin’ identifies himself as Pompey, lines 12–15 of the original are simply omitted. Escalus responds with the next sentence in line 16, asking immediately about the bawd's profession (‘ihr seyd ein Stück von einem H** Wirth, ob ihr es gleich hinter dem Bierzapfer versteken wollt. Seyd ihr's nicht?’).

⁵⁴ Williams, Shakespeare on the German Stage, 84.

⁵⁵ Similar emendations substitute ‘bath-house’ (Badhaus, p. 30) for the more erotically-tinged ‘hot-house’ in Shakespeare's original (II.i.64), and another shifted pun references not ‘China dishes’ (a play on woman being a ‘fine piece of China’, as Lever glosses in the Arden Second Series edition, line 93), but porcelain (Porcellan-Teller, p. 32) without further elaboration on the joke. Baudissin's translation of the play is the only German edition at the time that I have come across to retain the direct reference to ‘China-Dishes’ in the text.

⁵⁶ One instance, a pun on virginity and hanging (Pompey, asked to be a hangman, remarks on being able to take a maiden's head, but not a woman's), is listed in a footnote as wordplay that cannot be translated (einem Wortspiel, das sich nicht übersezen läßt), and, in another instance, as ‘completely incomprehensible’ (ganz unverständlich) and nothing but ‘a worn-out fabric of silly puns’ (ein abgeschmaktes Gewebe von albernen Wortspielen bleibt). The second comment, in reference to Pompey's lines in IV.ii.32–38, corresponds to a moment in IV.v in Wieland's translation, appearing there on p. 96. The first comment, punning on maiden's heads and woman's heads, corresponds to a moment earlier in the scene (IV.ii.3–5, p. 94 in Wieland's translation).

⁵⁷ Margaret Inwood, The Influence of Shakespeare on Richard Wagner (New York: Edwin Mellon Press, 1999): 17.

⁵⁸ ‘Mann muß ein Engländern seyn, diese Scenen von Engländern spielen sehen, und eine gute Portion Pounsch dazu im Kopfe haben, um den Geschmak daran zu finden.’ Quoted in Meisnest, F.W., ‘Wieland's Translation of Shakespeare’, Modern Language Review 9/1 (Jan. 1914): 18CrossRefGoogle Scholar. The German lines in question correspond to IV.ii.454–467 in the Arden, Third Series, edition of the play, ed. David Scot Kastan (New York: Bloomsbury, 2002).

⁵⁹ ‘Der Narr sagt hier etwas so elends, daß der Übersezer sich nicht überwinden kan, es herzusezen.’ Quoted in Wieland, trans., Maaß für Maaß, 164. In Measure for Measure, Lucio's protestation over taking the life of a man over the ‘rebellion of a codpiece’ (III.i.78) becomes ‘der Empörung eines H*s*nlazes’ (III.vi; p. 81).

⁶⁰ Trippett, ‘Individuation as Worship’, 146.

⁶¹ [Brian Robert] Morris, Lord of Castlemorris, ‘Shakespeare, Wagner, and Measure for Measure’, in Manuscript, Narrative, Lexicon: Essay on Literary and Culture Transmission in Honor of Whitney F. Bolton, ed. Robert Boenig and Kathleen Davis (Lewisburg: Bucknell University Press, 2000): 118.

⁶² These comments appear in the accompanying booklet for the Opus Arte video release of the opera, pp. 7–8.

⁶³ ‘Vgl. die schon zu Wielands Zeiten gebräuchlichen, miteinander konkurrierenden zwei Lesarten für „Libertin“: „Wüstling“ auf der einen, aber auch bereits—aufwertend—„Freigeist“ auf der andern Seite.’ Nilges, Shakespeares Wagner, 63n 25.

⁶⁴ Williams suggests that Dorella has ‘no Shakespearean counterpart’ in ‘Wagner's Das Liebesverbot’, 59. Trippett and Istel also suggest as much. For their references, see n47 above.

⁶⁵ Though Shakespeare chose not to adapt the scene, a similarly flirtatious courtroom moment does in fact show up in Promos and Cassandra, a 1578 play by George Whetstone that served as the most prominent source material for Measure for Measure. There, the courtesan Lamia flirts with Phallax, the deputy character attempting to prosecute her alleged misdeeds. The Arden Third Series editors similarly remark upon the ‘nice thematic echo from the main plot’ (p. 102) Whetstone sets up in his play by including such a scene.

⁶⁶ Brophy, James M., ‘Carnival and Citizenship: The Politics of Culture in the Prussian Rhineland, 1823–1848’, Journal of Social History 30/4 (1997): 880CrossRefGoogle Scholar.

⁶⁷ Brophy, ‘Carnival and Citizenship’, 885–6.

⁶⁸ Macdonald, ‘Measure for Measure: The Flesh Made Word’, 266.

⁶⁹ Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Cambridge, MA: Massachusetts Institute of Technology Press, 1968): 10.

⁷⁰ The original phrase is ‘freie, offene Sinnlichkeit’, in Richard Wagner, Gesammelte Schriften und Dichtungen (Leipzig, 1888): I, 10.

⁷¹ Kenneth Gross, Shakespeare's Noise (Chicago: University of Chicago Press, 2001): 74.

⁷² Bakhtin, Rabelais and His World, 20.

⁷³ The Arden editors, citing François Laroque, note Overdone's comment at III.i.459–460 suggesting that the baby will be (or was) fifteen months old on 1 May (the feast of Saints Philip and James), hence ‘he must have been born at Candlemas, on the eve of Carnival, and may have been conceived in the course of the nocturnal escapades of May Day two years earlier’.

⁷⁴ Wheeler, Shakespeare's Development and the Problem Comedies, 13.

⁷⁵ It is worth noting that Friedrich's desire to be killed according to his own laws is in accord with Shakespeare's Angelo, who, at the end of the play, asserts ‘I crave death more willingly than mercy./’Tis my deserving and I do entreat it’ (V.i.476–777).

⁷⁶ Boas, Shakespeare and His Predecessors, 357.

⁷⁷ ‘Ha, der Abscheul'che, der Verruchte! Gott gibt mir Kraft ihn zu vernichten!’, No. 4, p. 144.

⁷⁸ Morris, ‘Shakespeare, Wagner, and Measure for Measure’, 117–18.

⁷⁹ Gail Finney, ‘Revolution, Resignation, Realism (1830–1890)’, in The Cambridge History of German Literature, ed. Hellen Watanabe-O'Kelley (New York: Cambridge University Press, 1997): 272.

⁸⁰ Massey, Marilyn Chapin, ‘The Literature of Young Germany and D. F. Strauss's Life of Jesus’, Journal of Religion 59/3 (1979): 301CrossRefGoogle Scholar.

⁸¹ Cited in Paul Lawrence Rose, German Question/Jewish Question: Revolutionary Antisemitism from Kant to Wagner (Princeton: Princeton University Press, 1990): 178.

⁸² For references to Gutzkow and others, see, for example, ML, I: 388–92; CD, I: 492 (entry for 1 June 1872); PW, I: xvii, 5, 9, 46, 174, 222; VI: 89, 133, 139.

⁸³ Bakhtin, Rabelais and His World, 7.

⁸⁴ ‘Nein, das Gesetz ist aufgehoben! Wir wollen gnäd'ger sein als du!’, ‘Kommt, die Gefang'nen zu befrei'n’, No. 11, p. 575–8.

⁸⁵ Paul Lawrence Rose, Wagner: Race and Revolution (New Haven: Yale University Press, 1992): 36.

⁸⁶ Borchmeyer, Drama and the World of Richard Wagner, 146, 125.

⁸⁷ James Garratt, Music, Culture and Social Reform in the Age of Wagner (New York: Cambridge University Press, 2010): 49.

⁸⁸ Mary A. Cicora, Wagner's Ring and German Drama: Comparative Studies in Mythology and History in Drama (Westport: Greenwood Press, 1999): 36. For Borchmeyer see again Drama and the World of Richard Wagner, 146.

⁸⁹ Friedrich Lippmann, ‘Die Feen und Das Liebesverbot, oder Die Wagnierisierund diverser Vorbilder’, in Wagnerliteratur–Wagnerforschung: Bericht über das Wagner-Symposium München 1983, ed. Carl Dahlhaus and Egon Voss (Mainz: Schott, 1985): 42–3.

⁹⁰ Hans Engel, ‘Über Richard Wagners Oper “Das Liebesverbot”‘, in Festschrift Friedrich Blume zum 70. Geburtstag, ed. Anna Amalie Abert and Wilhelm Pfannkuch (New York: Bärenreiter Kassel, 1963): 85.

⁹¹ Alfred Einstein, ‘Richard Wagners “Das Liebesverbot”: Zur Aufführung am Münchner National-Theater (24 März 1923)’, in Nationale und universal Musik. Neue Essays (Zurich: Pan, 1958): 85.

⁹² Danna Behne, ‘Wagner's Das Liebesverbot’ (MA thesis, North Texas State University, 1973): 81.

⁹³ Thomas Grey, ‘Musical Background and Influences’, in The Wagner Compendium, ed. Barry Millington (London: Thames and Hudson, 1992): 71.

⁹⁴ Grey, ‘Meister Richard's Apprenticeship’, 29.

⁹⁵ For Wagner's continued interest in Measure for Measure, as well as other Shakespeare plays, see for instance Cosima's diary entries from 29–30 April and 3 May 1880, CD, II: 471–3.