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

public-school education (—the latter, quite indispensable _for pure_ foolishness). What _surprises_ await one! Would you believe it, that Wagner’s heroines one and all, once they have been divested of the heroic husks, are almost indistinguishable from Mdme. Bovary!—just as one can conceive conversely, of Flaubert’s being _well able_ to transform all his heroines into Scandinavian or Carthaginian women, and then to offer them to Wagner in this mythologised form as a libretto. Indeed, generally speaking, Wagner does not seem to have become interested in any other problems than those which engross the little Parisian decadents of to-day. Always five paces away from the hospital! All very modern problems, all problems which are at home _in big cities!_ do not doubt it!… Have you noticed (it is in keeping with this association of ideas) that Wagner’s heroines never have any children?—They _cannot_ have them.… The despair with which Wagner tackled the problem of arranging in some way for Siegfried’s birth, betrays how modern his feelings on this point actually were.—Siegfried “emancipated woman”—but not with any hope of offspring.—And now here is a fact which leaves us speechless: Parsifal is Lohengrin’s father! How ever did he do it?—Ought one at this juncture to remember that “chastity works miracles”?… _Wagnerus dixit princeps in castitate auctoritas._ 10. And now just a word _en passant_ concerning Wagner’s writings: they are among other things a school of _shrewdness_. The system of procedures of which Wagner disposes, might be applied to a hundred other cases,—he that hath ears to hear let him hear. Perhaps I may lay claim to some public acknowledgment, if I put three of the most valuable of these procedures into a precise form. Everything that Wagner _cannot_ do is bad. Wagner could do much more than he does; but his strong principles prevent him. Everything that Wagner _can_ do, no one will ever be able to do after him, no one has ever done before him, and no one must ever do after him. Wagner is godly. These three propositions are the quintessence of Wagner’s writings;—the rest is merely—“literature”. —Not every kind of music hitherto has been in need of literature; and it were well, to try and discover the actual reason of this. Is it perhaps that Wagner’s music is too difficult to understand? Or did he fear precisely the reverse—that it was too easy,—that people might _not understand it with sufficient difficulty_?—As a matter of fact, his whole life long, he did nothing but repeat one proposition: that his music did not mean music alone! But something more! Something immeasurably more!… “_Not music alone_”—_no_ musician would speak in this way. I repeat, Wagner could not create things as a whole; he had no choice, he was obliged to create things in bits, with “motives,” attitudes, formulæ, duplications, and hundreds of repetitions, he remained a rhetorician in music,—and that is why he was at bottom _forced_ to press “this means” into the foreground. “Music can never be anything else than a means”: this was his theory, but above all it was the only _practice_ that lay open to him. No musician however thinks in this way.—Wagner was in need of literature, in order to persuade the whole world to take his music seriously, profoundly, “because it _meant_ an infinity of things”, all his life he was the commentator of the “Idea.”—What does Elsa stand for? But without a doubt, Elsa is “the unconscious _mind of the people_” (—“when I realised this, I naturally became a thorough revolutionist”—). Do not let us forget that, when Hegel and Schelling were misleading the minds of Germany, Wagner was still young: that he guessed, or rather fully grasped, that the only thing which Germans take seriously is—“the idea,”—that is to say, something obscure, uncertain, wonderful; that among Germans lucidity is an objection, logic a refutation. Schopenhauer rigorously pointed out the dishonesty of Hegel’s and Schelling’s age,—rigorously, but also unjustly, for he himself, the pessimistic old counterfeiter, was in no way more “honest” than his more famous contemporaries. But let us leave morality out of the question, Hegel is a _matter of taste_.… And not only of German but of European taste!… A taste which Wagner understood!—which he felt equal to! which he has immortalised!—All he did was to apply it to music—he invented a style for himself, which might mean an “infinity of things,”—he was _Hegel’s_ heir.… Music as “Idea.”— And how well Wagner was understood!—The same kind of man who used to gush over Hegel, now gushes over Wagner, in his school they even _write_ Hegelian.(11) But he who understood Wagner best, was the German youthlet. The two words “infinity” and “meaning” were sufficient for this: at their sound the youthlet immediately began to feel exceptionally happy. Wagner did _not_ conquer these boys with music, but with the “idea”:—it is the enigmatical vagueness of his art, its game of hide-and-seek amid a hundred symbols, its polychromy in ideals, which leads and lures the lads. It is Wagner’s genius for forming clouds, his sweeps and swoops through the air, his ubiquity and nullibiety—precisely the same qualities with which Hegel led and lured in his time!—Moreover in the presence of Wagner’s multifariousness, plenitude and arbitrariness, they seem to themselves justified—“saved”. Tremulously they listen while the _great symbols_ in his art seem to make themselves heard from out the misty distance, with a gentle roll of thunder, and they are not at all displeased if at times it gets a little grey, gruesome and cold. Are they not one and all, like Wagner himself, on _quite intimate terms_ with bad weather, with German weather! Wotan is their God, but Wotan is the God of bad weather.… They are right, how could these German youths—in their present condition,—miss what we others, we _halcyonians_, miss in Wagner? _i.e._: _la gaya scienza_; light feet, wit, fire, grave, grand logic, stellar dancing, wanton intellectuality, the vibrating light of the South, the calm sea—perfection.… 11. —I have mentioned the sphere to which Wagner belongs—certainly not to the history of music. What, however, does he mean historically?—_The rise of the actor in music_: a momentous event which not only leads me to think but also to fear. In a word: “Wagner and Liszt.” Never yet have the “uprightness” and “genuineness” of musicians been put to such a dangerous test. It is glaringly obvious: great success, mob success is no longer the achievement of the genuine,—in order to get it a man must be an actor!—Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilisations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavourable. The actor, alone, can still kindle _great_ enthusiasm.—And thus it is his _golden age_ which is now dawning,—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he “delivered” them from monotony.… The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to _Riemann’s_ services to rhythmics; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it “phrasing”).—All these people, and I say it with gratitude, are the best, the most respectable among Wagner’s admirers—they have a perfect right to honour Wagner. The same instinct unites them with one another; in him they recognise their highest type, and since he has inflamed them with his own ardour they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner’s influence has really been _beneficent_. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and _obtain_ from themselves, they had never exacted before Wagner’s time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there the most difficult things are expected, blame is severe, praise very scarce,—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more “dramatic” effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of decadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, “self-denial”. Neither taste, voices, nor gifts, Wagner’s stage requires but one thing: _Germans!_… The definition of a German: an obedient man with long legs.… There is a deep significance in the fact that the rise of Wagner should have coincided with the rise of the “Empire”: both phenomena are a proof of one and the same thing—obedience and long legs.—Never have people been more obedient, never have they been so well ordered about. The conductors of Wagnerian orchestras, more particularly, are worthy of an age, which posterity will one day call, with timid awe, the _classical age of war_. Wagner understood how to command; in this respect, too, he was a great teacher. He commanded as a man who had exercised an inexorable will over himself—as one who had practised lifelong discipline: Wagner was, perhaps, the greatest example of self-violence in the whole of the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12. This view, that our actors have become more worthy of respect than heretofore, does not imply that I believe them to have become less dangerous.… But who is in any doubt as to what I want,—as to what the _three requisitions_ are concerning which my wrath and my care and love of art, have made me open my mouth on this occasion? _That the stage should not become master of the arts._ _That the actor should not become the corrupter of the genuine._ _That music should not become an art of lying._ _Friedrich Nietzsche._ Postscript The gravity of these last words allows me at this point to introduce a few sentences out of an unprinted essay which will at least leave no doubt as to my earnestness in regard to this question. The title of this essay is: “What Wagner has cost us.” One pays dearly for having been a follower of Wagner. Even to-day a vague feeling that this is so, still prevails. Even Wagner’s success, his triumph, did not uproot this feeling thoroughly. But formerly it was strong, it was terrible, it was a gloomy hate throughout almost three-quarters of Wagner’s life. The resistance which he met with among us Germans cannot be too highly valued or too highly honoured. People guarded themselves against him as against an illness,—not with arguments—it is impossible to refute an illness,—but with obstruction, with mistrust, with repugnance, with loathing, with sombre earnestness, as though he were a great rampant danger. The æsthetes gave themselves away when out of three schools of German philosophy they waged an absurd war against Wagner’s principles with “ifs” and “fors”—what did he care about principles, even his own!—The Germans themselves had enough instinctive good sense to dispense with every “if” and “for” in this matter. An instinct is weakened