 Wagner’s paradigm of the total artwork is the Greek tragic festival. While he does not call for its literal restoration, Wagner argues that the artwork of the future should be like the Greek one in some crucial respects. It should involve all strata of society (Wagner 1849a; Wagner 1852b: part II, 2). Most famously, it should unite the various art forms (Wagner 1849a; Wagner 1849b: IV). Aside from his reliance on the authority of the Greek model, at least two additional argument are advanced by Wagner in support of the Gesamtkunstwerk. First, Wagner argues that its multi-sensory nature is best apt to give rise to an immersive, lifelike experience (Wagner 1852b: part II, 2; for discussion, see Young 2014: 46–48). Second, Wagner holds that an art is unfree (unfrei) when in isolation, free when it cooperates with other art forms (Wagner 1849b: II, 2). The argument seems to rely on an analogy with human freedom, which Wagner conceived as possible only for an individual who is part of a collective. In both cases, absence of limitations is equated with an absence of freedom.