This chapter critiques the standing aesthetics of music, which Hanslick refers to as the “aesthetics of feeling.” He cites the following authors to demonstrate “how deeply these doctrines of emotion have taken root”: Mattheson, Neidthardt, J.N. Forkel, J. Mosel, C.F. Michaelis, Marpurg, W. Heinse, J.J. Engel, J.Ph. Kirnberger, Pierer, G. Schilling, Koch, A. André, Sulzer, J.W. Boehm, Gottfried Weber, F. Hand, Amadeus Autodidaktus, Fermo Bellini, Friedrich Thiersch, A. v. Dommer, and Richard Wagner. By ending his list of theorists with Wagner, he makes his primary critical target obvious; Wagner had recently published his own essay, "Opera and Drama", in 1851, in which he demonstrates how his compositional technique expresses the feelings inherent in the content and form of poetry.