The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.

factor in Wagner’s nature as a theatrical talent which, in all his means and aspirations, draws its final conclusions.” And as early as 1874, Nietzsche wrote in his diary—“Wagner is a born actor. Just as Goethe was an abortive painter, and Schiller an abortive orator, so Wagner was an abortive theatrical genius. His attitude to music is that of the actor; for he knows how to sing and speak, as it were out of different souls and from absolutely different worlds (_Tristan_ and the _Meistersinger_).” There is, however, no need to multiply examples, seeing, as I have said, that in the translations of Halévy’s and Lichtenberger’s books the reader will find all the independent evidence he could possibly desire, disproving the popular, and even the learned belief that, in the two pamphlets before us we have a complete, apparently unaccountable, and therefore “demented” _volte-face_ on Nietzsche’s part. Nevertheless, for fear lest some doubt should still linger in certain minds concerning this point, and with the view of adding interest to these essays, the Editor considered it advisable, in the Second Edition, to add a number of extracts from Nietzsche’s diary of the year 1878 (ten years before “The Case of Wagner,” and “Nietzsche _contra_ Wagner” were written) in order to show to what extent those learned critics who complain of Nietzsche’s “morbid and uncontrollable recantations and revulsions of feeling,” have overlooked even the plain facts of the case when forming their all-too-hasty conclusions. These extracts will be found at the end of “Nietzsche _contra_ Wagner.” While reading them, however, it should not be forgotten that they were never intended for publication by Nietzsche himself—a fact which accounts for their unpolished and sketchy form—and that they were first published in vol. xi. of the first German Library Edition (pp. 99-129) only when he was a helpless invalid, in 1897. Since then, in 1901 and 1906 respectively, they have been reprinted, once in the large German Library Edition (vol. xi. pp. 181-202), and once in the German Pocket Edition, as an appendix to “Human-All-too-Human,” Part II. An altogether special interest now attaches to these pamphlets; for, in the first place we are at last in possession of Wagner’s own account of his development, his art, his aspirations and his struggles, in the amazing self-revelation entitled _My Life_;(5) and secondly, we now have _Ecce Homo_, Nietzsche’s autobiography, in which we learn for the first time from Nietzsche’s own pen to what extent his history was that of a double devotion—to Wagner on the one hand, and to his own life task, the Transvaluation of all Values, on the other. Readers interested in the Nietzsche-Wagner controversy will naturally look to these books for a final solution of all the difficulties which the problem presents. But let them not be too sanguine. From first to last this problem is not to be settled by “facts.” A good deal of instinctive choice, instinctive aversion, and instinctive suspicion are necessary here. A little more suspicion, for instance, ought to be applied to Wagner’s _My Life_, especially in England, where critics are not half suspicious enough about a continental artist’s self-revelations, and are too prone, if they have suspicions at all, to apply them in the wrong place. An example of this want of _finesse_ in judging foreign writers is to be found in Lord Morley’s work on Rousseau,—a book which ingenuously takes for granted everything that a writer like Rousseau cares to say about himself, without considering for an instant the possibility that Rousseau might have practised some hypocrisy. In regard to Wagner’s life we might easily fall into the same error—that is to say, we might take seriously all he says concerning himself and his family affairs. We should beware of this, and should not even believe Wagner when he speaks badly about himself. No one speaks badly about himself without a reason, and the question in this case is to find out the reason. Did Wagner—in the belief that genius was always immoral—wish to pose as an immoral Egotist, in order to make us believe in his genius, of which he himself was none too sure in his innermost heart? Did Wagner wish to appear “sincere” in his biography, in order to awaken in us a belief in the sincerity of his music, which he likewise doubted, but wished to impress upon the world as “true”? Or did he wish to be thought badly of in connection with things that were not true, and that consequently did not affect him, in order to lead us off the scent of true things, things he was ashamed of and which he wished the world to ignore—just like Rousseau (the similarity between the two is more than a superficial one) who barbarously pretended to have sent his children to the foundling hospital, in order not to be thought incapable of having had any children at all? In short, where is the bluff in Wagner’s biography? Let us therefore be careful about it, and all the more so because Wagner himself guarantees the truth of it in the prefatory note. If we were to be credulous here, we should moreover be acting in direct opposition to Nietzsche’s own counsel as given in the following aphorisms (Nos. 19 and 20, p. 89):— “It is very difficult to trace the course of Wagner’s development,—no trust must be placed in his own description of his soul’s experiences. He writes party-pamphlets for his followers. “It is extremely doubtful whether Wagner is able to bear witness about himself.” While on p. 37 (the note), we read:—“He [Wagner] was not proud enough to be able to suffer the truth about himself. Nobody had less pride than he. Like Victor Hugo he remained true to himself even in his biography,—he remained an actor.” However, as a famous English judge has said—“Truth will come out, even in the witness box,” and, as we may add in this case, even in an autobiography. There is one statement in Wagner’s _My Life_ which sounds true to my ears at least—a statement which, in my opinion, has some importance, and to which Wagner himself seems to grant a mysterious significance. I refer to the passage on p. 93 of vol i., in which Wagner says:—“Owing to the exceptional vivacity and innate susceptibility of my nature … I gradually became conscious of a certain power of transporting or bewildering my more indolent companions.” This seems innocent enough. When, however, it is read in conjunction with Nietzsche’s trenchant criticism, particularly on pp. 14, 15, 16, 17 and 18 of this work, and also with a knowledge of Wagner’s music, it becomes one of the most striking passages in Wagner’s autobiography, for it records how soon he became conscious of his dominant instinct and faculty. I know perfectly well that the Wagnerites will not be influenced by these remarks. Their gratitude to Wagner is too great for this. He has supplied the precious varnish wherewith to hide the dull ugliness of our civilisation. He has given to souls despairing over the materialism of this world, to souls despairing of themselves, and longing to be rid of themselves, the indispensable hashish and morphia wherewith to deaden their inner discords. These discords are everywhere apparent nowadays. Wagner is therefore a common need, a common benefactor. As such he is bound to be worshipped and adored in spite of all egotistical and theatrical autobiographies. Albeit, signs are not wanting—at least among his Anglo-Saxon worshippers who stand even more in need of romanticism than their continental brethren,—which show that, in order to uphold Wagner, people are now beginning to draw distinctions between the man and the artist. They dismiss the man as “human-all-too-human,” but they still maintain that there are divine qualities in his music. However distasteful the task of disillusioning these psychological tyros may be, they should be informed that no such division of a man into two parts is permissible, save in Christianity (the body and the soul), but that outside purely religious spheres it is utterly unwarrantable. There can be no such strange divorce between a bloom and the plant on which it blows, and has a black woman ever been known to give birth to a white child? Wagner, as Nietzsche tells us on p. 19, “was something complete, he was a typical _decadent_ in whom every sign of ‘free will’ was lacking, in whom every feature was necessary.” Wagner, allow me to add, was a typical representative of the nineteenth century, which was the century of contradictory values, of opposed instincts, and of every kind of inner disharmony. The genuine, the classical artists of that period, such men as Heine, Goethe, Stendhal, and Gobineau, overcame their inner strife, and each succeeded in making a harmonious whole out of himself—not indeed without a severe struggle; for everyone of them suffered from being the child of his age, _i.e._, a decadent. The only difference between them and the romanticists lies in the fact that they (the former) were conscious of what was wrong with them, and possessed the will and the strength to overcome their illness; whereas the romanticists chose the easier alternative—namely, that of shutting their eyes on themselves. “I am just as much a child of my age as Wagner—_i.e._, I am a _decadent_,” says Nietzsche. “The only difference is that I recognised the fact, that I struggled against it”(6) What Wagner did was characteristic of all romanticists and contemporary artists: he drowned and overshouted his inner discord by means of exuberant pathos and wild exaltation. Far be it from me to value Wagner’s music _in extenso_ here—this is scarcely a fitting opportunity to do so;—but I think it might well be possible to show, on purely psychological grounds, how impossible it was for a man like Wagner to produce real art. For how can harmony, order, symmetry, mastery, proceed from uncontrolled discord, disorder, disintegration, and chaos? The fact that an art which springs from such a marshy soil may, like certain paludal plants, be “wonderful,” “gorgeous,” and “overwhelming,” cannot be denied; but true art it is not. It is so just as little as Gothic architecture is,—that style which, in its efforts to escape beyond the tragic contradiction in its mediæval heart, yelled its hysterical cry heavenwards and even melted the stones of its structures into a quivering and fluid jet, in order to give adequate expression to the painful and wretched conflict then raging between the body and the soul. That Wagner, too, was a great sufferer, there can be no doubt; not, however, a sufferer from strength, like a true artist, but from weakness—the weakness of his age, which he never overcame. It is for this reason that he should be rather pitied than judged as he is now being judged by his German and English critics, who, with thoroughly neurotic suddenness, have acknowledged their revulsion of feeling a little too harshly. “I have carefully endeavoured not to deride, or deplore, or detest…” says Spinoza, “but to understand”; and these words ought to be our guide, not only in the case of Wagner, but in all things. Inner discord is a terrible affliction, and nothing is so certain to produce that nervous irritability which is so trying to the patient as well as to the outer world, as this so-called spiritual disease. Nietzsche was probably quite right when he said the only real and true music that Wagner ever composed did not consist of his elaborate arias and overtures, but of ten or fifteen bars which, dispersed here and there, gave expression to the composer’s profound and genuine melancholy. But this melancholy had to be overcome, and Wagner with the blood of a _cabotin_ in his veins, resorted to the remedy that was nearest to hand—that is to say,