CHAPTER 14
The Compositions, 1845–54

The difference, so far then, between sleeping and waking seems to be, that in the latter we have a greater range of conscious recollections, a larger discourse of reason, and associate ideas in longer trains and more as they are connected one with another in the order of nature; whereas in the former, any two impressions, that meet or are alike, join company, and then are parted again, without notice, like the froth from the wave. So in madness, there is, I should apprehend, the same tyranny of the imagination over the judgment; that is, the mind has slipped its cable, and single images meet, and jostle, and unite suddenly together, without any power to arrange or compare them with others with which they are connected in the world of reality. There is a continual phantasmagoria: whatever shapes and colours come together are by the heat and violence of the brain referred to external nature, without regard to the order of time, place, or circumstance.

—Hazlitt, “On Dreams”

DURING THE FINAL EIGHT YEARS OF SCHUMANN'S CREATIVE life, he produced ninety-three works, nearly two-thirds of his oeuvre. Among them—in addition to Genoveva, Manfred, and the Scenes from Goethe's Faust—are two symphonies, three piano trios, concertos for piano, violin, and cello, three violin sonatas, an oratorio, and three

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