|Senta casts herself into the sea to redeem the Dutchman|
A good composer does not imitate; he steals.
I intended the quotation to represent the “Glückliche Fahrt” not Holländer (or 3 Blind Mice) — but, as the phrase comes in 50 things it might be worthwhile to mention which I meant.
The pretty Lady is on the sea & far away & I meant this (originally) as a little quotation from Mendelssohn’s Meeresstille ū. Glückliche Fahrt. — but I did not acknowledge it as the critics — if one mentions anything of the kind — talk of nothing else — so I have cut out the reference — I think you can alter the score — in two places — it’s only Clar[ine]t! Tell me what else reminds the critics of something else. I might alter it.
. . . taking into consideration the simple facts of the plot and its presentation, without applying any filtering, we come to the inescapable conclusion that Senta’s actions and powers can only be described as ‘Christ-like’ . . . when we further recall Wagner’s original stage direction for the final tableau of the opera, with the Dutchman and Senta arising transfigured above the waves, we recognize that the Christ analogy holds even to the extent of her resurrection and the assumption after her final self-sacrifice to save the soul of the Dutchman (representing the redemption of mankind). Her female gender is irrelevant to this conclusion: she is the redeemer who is loyal to death (as Senta assures the Dutchman at the conclusion of the opera: ‘treu dir bis zum Tod!’).
|Ex. 4a Original Short Score of Variation XIII|
|Ex. 4b Elgar's reverse acrostic LVX (LUX)|
 Postcard, University of leeds Brotherton Library Special Collections MS361.
 Thomas Grey, Richard Wagner: Der fliegende Holländer (Cambridge University Press, 2000), 47.
 Barry Millington, The sorcerer of Bayreuth: Richard Wagner, his work and his world (New York: Oxford University Press, 2012), 254.
 Raymond Monk, Elgar Studies (New York: Routledge, 2016), 9.
 Robert W. Padgett, Wagnerian Leitmotifs in Elgar’s Chanson de Nuit (November 20016) published at http://enigmathemeunmasked.blogspot.com/2016/11/wagnerian-leitmotifs-in-elgars-chanson.html
 Ian Beresford Gleaves, ‘Elgar and Wagner’, The Elgar Society Journal, Vol. 15 No. 2 ( July 2007), 22.
 Michael Kennedy, The Life of Elgar (Cambridge University Press, 2004 ), 69.
 Jerrold Northrop Moore, Elgar and his Publishers: Letters of a Creative Life Vol I 1885-1903 (Oxford: Clarendon Press, 1987), 122.
 Edward A. Bortnichak and Paula M. Bortnichak, ‘Redeeming Senta’, The Wagner Society Journal, 13 (March 2019), 27-28.
 Steven Vande Moortele, “Form, Narrative and Intertextuality in Wagner’s Overture to Der Fliegende Hollander”, Music Analysis, 32/i (February 2013), 51.
 Ibid, 50.
 John 8:12
 Julian Rushton, Elgar: ‘Enigma’ Variations (Cambridge University Press, 1999), 8.
 John 19:25-27
 Luke 23:33 states that Jesus was crucified between two criminals.
 Moore, Elgar and his Publishers, 136.
 Kennedy, The Life of Elgar, 29.
 Mark 15:33
 Arthur S. Reynolds, “Elgar and Joachim”, The Elgar Society Journal, 2 (July 2007), 27.
 Ibid, 29.
 Leopold Auer, Violin Playing As I Teach It (New York: Dover Publications), 6.
 Jerrold Northrop Moore, Elgar: A Creative Life (Oxford University Press, 1984), 266.
 Eric Metaxas, Martin Luther: The Man who Rediscovered God and Changed the World (New York: Viking, 2017), 238.
 Julian Rushton, Elgar: ‘Enigma’ Variations, 59.
 Clive McClelland, “John M. Rollett: New Light on Elgar’s Enigma”, The Elgar Society Journal, 2 (July 2009), 50.
 Mike Smith, “Friends Revisited: An edition of Elgar Birthplace EB722”, The Elgar Society Journal, 2 (July 2009), 11.
 Daniel Estrin, “Breaking Elgar’s Enigma”, The New Republic (February 1, 2017), see https://newrepublic.com/article/139816/breaking-elgars-enigma
 Moore, Elgar: A Creative Life, 270.
 Moore, Elgar and his Publishers, 94.