Abstract
Beginning with an analytic account of some of the main poetical precepts formulated by Richard Wagner in his treatise Opera and Drama (1853), and based on critical comments about their possible effects upon the poetry of some of the so-called Hispanic Modernists, this paper claims that this Wagnerian text should be taken into account as a technical and theoretical corpus to the study of the poetical musicality of Hispanic Modernism and, more broadly, of the international Symbolist poetry in general.
Keywords
Richard Wagner; Opera and Drama (1851); Hispanic Modernism; Rubén Darío; Julio Herrera y Reissig