points in its negativity to despair, to an uncontrollable Weltschmerz and to love

That history cannot repeat, which is an idea infused with both European Weltschmerz and hopeful American gusto, finds resonance in Mahler’s greatest contribution to compositional technique

weltschmerz as opposed to naïveté or hubris

And then there is that sense of European ennui, of weltschmerz, that no MGM player had projected before.

weltschmerzian end-lust aglitter