But this 'sword,' again, to Beethoven did not appear to say the right thing; allotted to the Mode, it seemed to him too noble and heroic. So of his own sovereign power he substituted 'frech,' and now we sing:
'Was die Mode frech getheilt.' 'What the Mode had dared to part.' (32)
Could anything be more speaking than this vehement, this passionate artistic act? We might be looking on a Luther in his rage against the Pope !-
As for our present Civilisation, especially insofar as it influences the artistic man, we certainly may assume that nothing but the spirit of our Music, that music which Beethoven set free from bondage to the Mode, can dower it with a soul again. And the task of giving to the new, more soulful civilisation that haply may arise herefrom, the new Religion to inform it-this task must obviously be reserved for the German Spirit alone, that spirit which we ourselves shall never rightly understand till we cast. aside each spurious tendency ascribed thereto.
Yet how hard of gain is true self-knowledge, above all for an entire nation, we now have learnt to our genuine horror from the case of our once so powerful neighbours the French; and we thence may derive a serious call to self-examination, for which we happily have but to pursue the earnest efforts of our own great poets, with whom both consciously and unconsciously, this self-examination was the root-endeavour.
To them it must needs have seemed questionable, how the uncouth and heavy-footed German nature could take rank at all advantageously beside the light and supple Form of our neighbours of Romanic descent. As the German spirit possessed, however, an undeniable advantage in the depth and inwardness of its conception of the world and all that moves therein, with them it was a constant question how this advantage could best be employed in the refining of the national character, and thence exert a beneficial influence on the mind and character of neighbouring peoples; whereas it was manifest that influences of this kind had taken hitherto the opposite route, and wrought on us more harm than good.
Now if we rightly judge the two poetic schemes that ran through the life of our greatest poet like two main arteries, we gain an excellent clue to the problem which presented itself to this freest of German men from the very commencement of his unparalleled career as poet.-We know that 'Faust' and 'Wilhelm Meister' were both conceived in the same period of the first exuberant blossoming of Goethe's poetic genius. The fervour of the deep idea that filled his mind first urged him to the execution of the earliest parts of' Faust': as if terrified by the vastness of his own conception, he turned from the mighty project to the more tranquillising treatment of the problem in 'Wilhelm Meister.' In full maturity of man's estate he completed this light-flowing novel. His hero is a German burgher's son who goes out in quest of sweet and stable Form, and journeying across the stage, through the heart of aristocratic society, is finally conducted to a life of usefulness as citizen of the world; to him is appointed a genie whom he understands but superficially: much in the same way as Goethe then understood Music, is 'Mignon understood by Wilhelm Meister. The poet lets us feel distinctly that an appalling crime has been committed against 'Mignon'; yet he helps his hero over such a feeling, to lead him to a sphere set free from heat of passion and tragical intensity, a sphere of beauteous culture. He takes him to a gallery, to shew him pictures. Music is made for Mignon's death, and Robert Schumann actually composed it later.-It appears that Schiller was aghast at the last book of 'Wilhelm Meister'; yet he surely knew no way of helping his great friend out of his strange aberration; especially as he could but assume that Goethe, who had created Mignon and therewith called a wonderful new world to life for us, must have inwardly fallen into a profound distraction, beyond all power of his friend to wake him from. Only Goethe himself; could wake himself; and-he awoke: in advanced old age he finished his Faust. Whatever had distracted him, he here assembles in one archetype of beauty: Helena, the full antique ideal, he conjures from the shadow-realm and marries to his Faust. But the shade will not stay banned; it melts into a radiant cloud, and floats away while Faust looks on in brooding but painless melancholy. Gretchen alone could redeem him: from the world of the blest that early sacrifice, still dwelling in his inmost heart unheeded, extends to him her hand. And if as sequel to the analogies we have drawn from likenesses between philosophy and physiology we now may venture to give the profoundest work of poetry an application to ourselves, the 'Alles Vergängliche ist nur ein Gleichniss' ('All things terrestrial are but a likeness ') we will interpret as the spirit of Plastic art, which Goethe so long and ardently had striven for; whilst 'Das ewig Weibliche zieht uns dahin' (' The Eternal-womanly beckons us hence') we will read as the spirit of Music, which mounted from the poet's deepest consciousness, and, soaring over him, led his footsteps on the pathway of redemption.-
And by this path, commencing in the inmost of experiences, must the German Spirit lead its Folk, if it is to bless the nations in due measure with its calling. Scoff at us, who will, for attributing to German music this unbounded significance; we shall as little let ourselves be led astray thereby, as the German nation allowed itself to be misled when its enemies presumed to insult it on the ground of a too well reasoned doubt of its unanimity and staunchness. This also our great poet knew, when he sought a consolation for the Germans appearing so empty and foolish to him in their badly-copied airs and manners; his consolation was: ' The German is brave.' And that is something !-
So let the German Folk be brave in peace as well; let it cherish its native worth, and cast the false show from it: let it never seek to pass for what it is not, but recognise the quality in which it is unique! To it the art of pleasing is denied; in lieu thereof its veritable deeds and thoughts are heartfelt and sublime. And beside its valour's victories in this wondrous 1870 no loftier trophy can be set, .than the memory of our great Beethoven, who was born to the German Folk one hundred years ago. Whither our arms are urging now, to the primal seat of 'shameless Mode' (der 'frechen Mode'), there had his genius begun already the noblest conquest: what our thinkers, our poets, in toilsome transposition, had only touched as with a half-heard word, the Beethovenian Symphony had stirred to its deepest core: the new religion, the world-redeeming gospel of sublimest innocence, was there already under stood as by ourselves.
So let us celebrate the great path-breaker in the wilderness of a paradise debased! But let us celebrate him worthily,-and no less worthily than the victories of German valour: for the benefactor of a world may claim still higher rank than the world-conqueror!
(1) Born December 17, 1770.-TR.
(2) Gervinus.-TR.
(3) 'Er war mit seinem Bewusstsein ein durchaus der anschaulichen Welt zugewendeter schöne Geist.'
(4) 'Zur Veranschaulichung der Idee.' The word 'Anschauung'-derived from 'Schauen,' 'to look '-presents the English translator with one of his greatest difficulties, as I once before have pointed out: from its original meaning, 'the act of looking at,' it has passed to the metaphorical 'view' and even to 'intuition,' which latter word, in ordinary parlance, expresses the very reverse of a physical inspection; in this essay, however, Wagner adopts the Schopenhauerian meaning of the term, i.e. a simple outward operation of the senses, without any analysis or synthesis by the reasoning faculty on the one hand, and without any disturbance of the emotions on the other. The present participle 'anschauend' and the adjective 'anschaulich' may be rendered, for lack of a better term, as 'visual,' since vision is the principal sense by which we take cognisance of the outer world: an old proverb tells us that 'seeing is believing,' while the opposite mode of knowledge, that by which we take cognisance of the inner world, is suggested in the words of the most esoteric of the Evangelists, 'blessed are they that have not seen, and yet have believed.' As Wagner in Opera and Drama has used the expression 'the eye of hearing,' it is easy to understand the difference between what he here calls 'art-music,' the music of mere sound-patterns, and that veritable music which passes through 'the ear of hearing' to the seat of the emotions.-Tr.
(5) 'Die Welt als Wille und Vorstellung' II. 415.-R. W.
(6) Ibid. 418.-R. Wagner.-In the edition of 1879 the corresponding pages are 417 and 419-20.-Tr.
(7) In the original we have the words 'durch seine hiermit verbundene tiefsinnige Hypothese' &c.,-literally 'through his profound hypothesis linked herewith,' or perhaps 'allied hereto.' This 'dream' hypothesis does not appear in the 'Welt als W. u. V.,' however, but in a lengthy essay on 'Ghost-seeing' in Vol. I. of the 'Parerga und Paralipomena,' written after the publication of the larger work; so that the 'connection' must be regarded in a purely subjective light, that is to say, as Wagner's own discovery. In fact our author, partly by re-arranging the 'material supplied [elsewhere] by the philosopher,' partly by his independent observations, has carried Schopenhauer's Theory of Music infinitely farther than its originator could ever have dreamt.-Tr.
(8) Cf. 'In lichten Tages Schein, wie war Isolde mein?' and in fact the whole love-scene in Tristan und Isolde, act ii.-Tr.
