Part 55

Concerning our modern music.--The decay of melody, like the decay of "ideas," and of the freedom of intellectual activity, is a piece of clumsiness and obtuseness, which is developing itself into new feats of daring and even into principles;--in the end man has only the principles of his gifts, or of his lack of gifts.

"Dramatic music"--nonsense! It is simply bad music.... "Feeling" and "passion" are merely substitutes when lofty intellectuality and the joy of it (e.g. Voltaire's) can no longer be attained. Expressed technically, feeling and "passion" are easier; they presuppose a much poorer kind of artist. The recourse to drama betrays that an artist is much more a master in tricky means than in genuine ones. To-day we have both dramatic painting and dramatic poetry, etc.

838.

What we lack in music is an æsthetic which would impose laws upon musicians and give them a conscience; and as a result of this we lack a real contest concerning "principles."--For as musicians we laugh at Herbart's velleities in this department just as heartily as we laugh at Schopenhauer's. As a matter of fact, tremendous difficulties present themselves here. We no longer know on what basis to found our concepts of what is exemplary, masterly, perfect. With the instincts of old loves and old admiration we grope about in a realm of values, and we almost believe, "that is good which pleases us".... I am always suspicious when I hear people everywhere speak innocently of Beethoven as a "classic"; what I would maintain, and with some seventy, is that, in other arts, a classic is the very reverse of Beethoven. But when the complete and glaring dissolution of style, Wagner's so-called dramatic style, is taught and honoured as exemplary, as masterly, as progressive, then my impatience exceeds all bounds. Dramatic style in music, as Wagner understood it, is simply renunciation of all style whatever; it is the assumption that something else, namely, drama, is a hundred times more important than music. Wagner can paint; he does not use music for the sake of music, with it he accentuates attitudes; he is a poet. Finally he made an appeal to beautiful feelings and heaving breasts, just as all other theatrical artists have done, and with it all he converted women and even those whose souls thirst for culture to him. But what do women and the uncultured care about music? All these people have no conscience for art: none of them suffer when the first and fundamental virtues of an art are scorned and trodden upon in favour of that which is merely secondary (as ancilla dramaturgica). What good can come of all extension in the means of expression, when that which is expressed, art itself, has lost all its law and order? The picturesque pomp and power of tones, the symbolism of sound, rhythm, the colour effects of harmony and discord, the suggestive significance of music, the whole sensuality of this art which Wagner made prevail--it is all this that Wagner derived, developed, and drew out of music. Victor Hugo did something very similar for language: but already people in France are asking themselves, in regard to the case of Victor Hugo, whether language was not corrupted by him, whether reason, intellectuality, and thorough conformity to law in language are not suppressed when the sensuality of expression is elevated to a high place? Is it not a sign of decadence that the poets in France have become plastic artists, and that the musicians of Germany have become actors and culturemongers?

839.

To-day there exists a sort of musical pessimism even among people who are not musicians. Who has not met and cursed the confounded youthlet who torments his piano until it shrieks with despair, and who single-handed heaves the slime of the most lugubrious and drabby harmonies before him? By so doing a man betrays himself as a pessimist.... It is open to question, though, whether he also proves himself a musician by this means. I for my part could never be made to believe it. Wagnerite pur sang is unmusical, he submits to the elementary forces of music very much as a woman submits to the will of the man who hypnotises her--and in order to be able to do this he must not be made suspicious in rebus musicis et musicantibus by a too severe or too delicate conscience. I said "very much as"--but in this respect I spoke perhaps more than a parable. Let any one consider the means which Wagner uses by preference, when he wishes to make an effect (means which for the greater part he first had to invent), they are appallingly similar to the means by which a hypnotist exercises his power (the choice of his movements, the general colour of his orchestration; the excruciating evasion of consistency, and fairness and squareness, in rhythm; the creepiness, the soothing touch, the mystery, the hysteria of his "unending melody"). And is the condition to which the overture to Lohengrin, for instance, reduces the men, and still more the women, in the audience, so essentially different from the somnambulistic trance? On one occasion after the overture in question had been played, I heard an Italian lady say, with her eyes half closed, in a way in which female Wagnerites are adepts: "Come si dorme con questa musica!"

840.

Religion in music.--What a large amount of satisfaction all religious needs get out of Wagnerian music, though this is never acknowledged or even understood! How much prayer, virtue, unction, virginity, salvation, speaks through this music!... Oh what capital this cunning saint, who leads and seduces us back to everything that was once believed in, makes out of the fact that he may dispense with words and concepts! ... Our intellectual conscience has no need to feel ashamed--it stands apart--if any old instinct puts its trembling lips to the rim of forbidden philtres.... This is shrewd and healthy, and, in so far as it betrays a certain shame in regard to the satisfaction of the religious instinct, it is even a good sign.... Cunning Christianity: the type of the music which came from the "last Wagner."

841.

I distinguish between courage before persons, courage before things, and courage on paper. The latter was the courage of David Strauss, for instance. I distinguish again between the courage before witnesses and the courage without witnesses: the courage of a Christian, or of believers in God in general, can never be the courage without witnesses--but on this score alone Christian courage stands condemned. Finally, I distinguish between the courage which is temperamental and the courage which is the fear of fear; a single instance of the latter kind is moral courage. To this list the courage of despair should be added.

This is the courage which Wagner possessed. His attitude in regard to music was at bottom a desperate one. He lacked two things which go to make up a good musician: nature and nurture, the predisposition for music and the discipline and schooling which music requires. He had courage: out of this deficiency he established a principle; he invented a kind of music for himself. The dramatic music which he invented was the music which he was able to compose,--its limitations are Wagner's limitations.

And he was misunderstood!--Was he really misunderstood?... Such is the case with five-sixths of the artists of to-day. Wagner is their Saviour: five-sixths, moreover, is the "lowest proportion." In any case where Nature has shown herself without reserve, and wherever culture is an accident, a mere attempt, a piece of dilettantism, the artist turns instinctively--what do I say?--I mean enthusiastically, to Wagner; as the poet says: "Half drew he him, and half sank he."

842.

"Music" and the grand style. The greatness of an artist is not to be measured by the beautiful feelings which he evokes: let this belief be left to the girls. It should be measured according to the extent to which he approaches the grand style, according to the extent to which he is capable of the grand style. This style and great passion have this in common--that they scorn to please; that they forget to persuade; that they command: that they will.... To become master of the chaos which is in one; to compel one's inner chaos to assume form; to become consistent, simple, unequivocal, mathematical, law this is the great ambition here. By means of it one repels; nothing so much endears people to such powerful men as this,--a desert seems to lie around them, they impose silence upon all, and awe every one with the greatness Of their sacrilege.... All arts know this kind of aspirant to the grand style: why are they absent in music? Never yet has a musician built as that architect did who erected the Palazzo Pitti.... This is a problem. Does music perhaps belong to that culture in which the reign of powerful men of various types is already at an end? Is the concept "grand style" in fact a contradiction of the soul of music,--of "the Woman" in our music? ...

With this I touch upon the cardinal question: how should all our music be classified? The age of classical taste knows nothing that can be compared with it: it bloomed when the world of the Renaissance reached its evening, when "freedom" had already bidden farewell to both men and their customs--is it characteristic of music to be Counter-Renaissance? Is music, perchance, the sister of the baroque style, seeing that in any case they were contemporaries? Is not music, modern music, already decadence? ...

I have put my finger before on this question: whether music is not an example of Counter-Renaissance art? whether it is not the next of kin to the baroque style? whether it has not grown in Opposition to all classic taste, so that any aspiration to classicism is forbidden by the very nature of music?

The answer to this most important of all questions of values would not be a very doubtful one, if people thoroughly understood the fact that music attains to its highest maturity and plenitude as romanticism--likewise as a reactionary movement against classicism.

Mozart, a delicate and lovable soul, but quite eighteenth century, even in his serious lapses ... Beethoven, the first great romanticist according to the French conception of romanticism, just as Wagner is the last great romanticist ... both of them are instinctive opponents of classical taste, of severe style--not to speak of "grand" in this regard.

843.

Romanticism: an ambiguous question, like all modern questions.

The æsthetic conditions are twofold:--

The abundant and generous, as opposed to the seeking and the desiring.

844.

A romanticist is an artist whose great dissatisfaction with himself makes him productive--; who looks away from himself and his fellows, and sometimes, therefore, looks backwards.

845.

Is art the result of dissatisfaction with reality? or is it the expression of gratitude for happiness experienced? In the first case, it is romanticism; in the second, it is glorification and dithyramb (in short, apotheosis art): even Raphael belongs to this, except for the fact that he was guilty of the duplicity of having defied the appearance of the Christian view of the world. He was thankful for life precisely where it was not exactly Christian.

With a moral interpretation the world is insufferable; Christianity was the attempt to overcome the world with morality: i.e. to deny it. In praxi such a mad experiment--an imbecile elevation of man above the world--could only end in the beglooming, the dwarfing, and the impoverishment of mankind: the only kind of man who gained anything by it, who was promoted by it, was the most mediocre, the most harmless and gregarious type.

Homer as an apotheosis artist; Rubens also. Music has not yet had such an artist.