Part 10

43.

The reason why the figures in Wagner’s art behave so madly, is because he greatly feared lest people would doubt that they were alive.

44.

Wagner’s art is an appeal to inartistic people; all means are welcomed which help towards obtaining an effect. It is calculated not to produce an artistic effect but an effect upon the nerves in general.

45.

Apparently in Wagner we have an art for everybody, because coarse and subtle means seem to be united in it. Albeit its pre-requisite may be musico-æsthetic education, and particularly with moral indifference.

46.

In Wagner we find the most ambitious combination of all means with the view of obtaining the strongest effect whereas genuine musicians quietly develop individual genres.

47.

Dramatists are borrowers—their principal source of wealth—artistic thoughts drawn from the epos. Wagner borrowed from classical music besides. Dramatists are constructive geniuses, they are not inventive and original as the epic poets are. Drama takes a lower rank than the epos: it presupposes a coarser and more democratic public.

48.

Wagner does not altogether trust music. He weaves kindred sensations into it in order to lend it the character of greatness. He measures himself on others; he first of all gives his listeners intoxicating drinks in order to lead them into believing that it was the music that intoxicated them.

49.

The same amount of talent and industry which makes the classic, when it appears some time too late, also makes the baroque artist like Wagner.

50.

Wagner’s art is calculated to appeal to short-sighted people—one has to get much too close up to it (Miniature): it also appeals to long-sighted people, but not to those with normal sight.

Contradictions in the Idea of Musical Drama.

51.

Just listen to the second act of the “Götterdämmerung,” without the drama. It is chaotic music, as wild as a bad dream, and it is as frightfully distinct as if it desired to make itself clear even to deaf people. This volubility with nothing to say is alarming. Compared with it the drama is a genuine relief.—Is the fact that this music when heard alone, is, as a whole intolerable (apart from a few intentionally isolated parts) in its favour? Suffice it to say that this music without its accompanying drama, is a perpetual contradiction of all the highest laws of style belonging to older music: he who thoroughly accustoms himself to it, loses all feeling for these laws. But has the drama been improved thanks to this addition? A symbolic interpretation has been affixed to it, a sort of philological commentary, which sets fetters upon the inner and free understanding of the imagination—it is tyrannical. Music is the language of the commentator, who talks the whole of the time and gives us no breathing space. Moreover his is a difficult language which also requires to be explained. He who step by step has mastered, first the libretto (language!), then converted it into action in his mind’s eye, then sought out and understood, and became familiar with the musical symbolism thereto: aye, and has fallen in love with all three things: such a man then experiences a great joy. But how exacting! It is quite impossible to do this save for a few short moments,—such tenfold attention on the part of one’s eyes, ears, understanding, and feeling, such acute activity in apprehending without any productive reaction, is far too exhausting!—Only the very fewest behave in this way: how is it then that so many are affected? Because most people are only intermittingly attentive, and are inattentive for sometimes whole passages at a stretch; because they bestow their undivided attention now upon the music, later upon the drama, and anon upon the scenery—that is to say they take the work to pieces.—But in this way the kind of work we are discussing is condemned: not the drama but a moment of it is the result, an arbitrary selection. The creator of a new genre should consider this! The arts should not always be dished up together,—but we should imitate the moderation of the ancients which is truer to human nature.

52.

Wagner reminds one of lava which blocks its own course by congealing, and suddenly finds itself checked by dams which it has itself built. There is no Allegro con fuoco for him.

53.

I compare Wagner’s music, which would fain have the same effect as speech, with that kind of sculptural relief which would have the same effect as painting. The highest laws of style are violated, and that which is most sublime can no longer be achieved.

54.

The general heaving, undulating and rolling of Wagner’s art.

55.

In regard to Wagner’s rejection of form, we are reminded of Goethe’s remark in conversation with Eckermann: “there is no great art in being brilliant if one respects nothing.”

56.