“Wort und Ton” (word and music), according to the composer's own words in his Capriccio, constitute a basic problem in the irresolute love of the Countess Madeleine and in the artistic problem of uniting poetry with music; the symbiosis of which depends, according to circumstances, upon whether the problem is resolved “prima le parole—dopo la musica” or “prima la musica—dopo le parole.” Since Richard Strauss in this work set himself the task of illuminating this artistic and aesthetic problem from all possible sides—both in the discussion of the persons participating in the piece as well as in its musical conception—it would appear to be of particular interest to test the theory on this very model. In the process of making this detailed examination, it soon became advisable to keep within certain limits, and for various reasons the Sonnet appeared to be specially suitable. In fact it does contain the “pivotal point of the plot,” as Willi Schuh rightly points out, since the poet and the musician are therein confronted with the prospect of working on a piece together, while the Countess is rendered even more helpless in that she is now forced into making a decision. Moreover, the strict sonnet form, because of its peculiarly elaborate construction, is more difficult to set to music than any other. The composer is either forced to let the inexorable poetic law of verse and strophe enslave him; or he has to violate the form of his literary source. At least so it would appear. That the problem does not have to be solved in this fashion is shown brilliantly by the solution which Richard Strauss's setting of the poem reveals.