_ (
Summer 1878.)
1.
My blunder was this, I travelled to Bayreuth with an ideal in my breast, and was thus doomed to experience the bitterest disappointment. The preponderance of ugliness, grotesqueness and strong pepper thoroughly repelled me.
2.
I utterly disagree with those who were dissatisfied with the decorations, the scenery and the mechanical contrivances at Bayreuth. Far too much industry and ingenuity was applied to the task of chaining the imagination to matters which did not belie their
epic origin. But as to the naturalism of the attitudes, of the singing, compared with the orchestra!! What affected, artificial and depraved tones, what a distortion of nature, were we made to hear!
3.
We are witnessing the death agony of the
last Art: Bayreuth has convinced me of this.
4.
My picture of Wagner, completely surpassed him; I had depicted an
ideal monster—one, however, which is perhaps quite capable of kindling the enthusiasm of artists. The real Wagner, Bayreuth as it actually is, was only like a bad, final proof, pulled on inferior paper from the engraving which was my creation. My longing to see real men and their motives, received an extraordinary impetus from this humiliating experience.
5.
This, to my sorrow, is what I realised; a good deal even struck me with sudden fear. At last I felt, however, that if only I could be strong enough to take sides against myself and what I most loved I would find the road to truth and get solace and encouragement from it—and in this way I became filled with a sensation of joy far greater than that upon which I was now voluntarily turning my back.
6.
I was in love with art, passionately in love, and in the whole of existence saw nothing else than art—and this at an age when, reasonably enough, quite different passions usually possess the soul.
7.
Goethe said: “The yearning spirit within me, which in earlier years I may perhaps have fostered too earnestly, and which as I grew older I tried my utmost to combat, did not seem becoming in the man, and I therefore had to strive to attain to more complete freedom.” Conclusion?—I have had to do the same.
8.
He who wakes us always wounds us.
9.
I do not possess the talent of being loyal, and what is still worse, I have not even the vanity to try to appear as if I did.
10.
He who accomplishes anything that lies beyond the vision and the experience of his acquaintances,—provokes envy and hatred masked as pity,—prejudice regards the work as decadence, disease, seduction. Long faces.
11.
I frankly confess that I had hoped that by means of art the Germans would become thoroughly disgusted with
decaying Christianity—I regarded German mythology as a solvent, as a means of accustoming people to polytheism.
What a fright I had over the Catholic revival!!
12.
It is possible neither to suffer sufficiently acutely from life, nor to be so lifeless and emotionally weak, as to have
need of Wagner’s art, as to require it as a medium. This is the principal reason of one’s
opposition to it, and not baser motives; something to which we are not driven by any personal need, and which we do not
require, we cannot esteem so highly.
13.
It is a question either of no longer
requiring Wagner’s art, or of still requiring it.
Gigantic forces lie concealed in it:
it drives one beyond its own domain.
14.
Goethe said: “Are not Byron’s audacity, sprightliness and grandeur all creative? We must beware of always looking for this quality in that which is perfectly pure and moral. All
greatness is creative the moment we realise it.” This should be applied to Wagner’s art.
15.
We shall always have to credit Wagner with the fact that in the second half of the nineteenth century he impressed art upon our memory as an important and magnificent thing. True, he did this in his own fashion, and this was not the fashion of upright and far-seeing men.
16.
Wagner
versus the cautious, the cold and the contented of the world—in this lies his greatness—he is a stranger to his age—he combats the frivolous and the super-smart—But he also fights the just, the moderate, those who delight in the world (like Goethe), and the mild, the people of charm, the scientific among men—this is the reverse of the medal.
17.
Our youth was up in arms against the
soberness of the age. It plunged into the cult of excess, of passion, of ecstasy, and of the blackest and most austere conception of the world.
18.
Wagner pursues one form of madness, the age another form. Both carry on their chase at the same speed, each is as blind and as unjust as the other.
19.
It is very difficult to trace the course of Wagner’s inner development—no trust must be placed in his own description of his soul’s experiences. He writes party-pamphlets for his followers.
20.
It is extremely doubtful whether Wagner is able to bear witness about himself.
21.
There are men who try in vain to make a principle out of
themselves. This was the case with Wagner.
22.
Wagner’s obscurity concerning final aims; his non-antique fogginess.
23.
All Wagner’s ideas straightway become manias; he is
tyrannised over by them. How can
such a man allow himself to be tyrannised over in this _ way! For instance by his hatred of Jews. He
kills his themes like his “ideas,” by means of his violent love of repeating them. The problem of excessive length and breadth; he bores us with his raptures.
24.
“
C’est la rage de voulour penser et sentir au delà de sa force” (Doudan). The Wagnerites.
25.
Wagner whose ambition far exceeds his natural gifts, has tried an incalculable number of times to achieve what lay beyond his powers—but it almost makes one shudder to see some one assail with such persistence that which defies conquest—the fate of his constitution.
26.
He is always thinking of the most
extreme expression,—in every word. But in the end superlatives begin to pall.
27.
There is something which is in the highest degree suspicious in Wagner, and that is Wagner’s suspicion. It is such a strong trait in him, that on two occasions I doubted whether he were a musician at all.
28.
The proposition: “in the face of perfection there is no salvation save love,”(16) is thoroughly Wagnerian. Profound jealousy of everything great from which he can draw
fresh ideas. Hatred of all that which he cannot approach, the Renaissance, French and Greek art in style.
Footnote
[16] What Schiller said of Goethe.—
Tr. 29.
Wagner is jealous of all periods that have shown
restraint: he despises beauty and grace, and finds only his own
virtues in the “Germans,” and even attributes all his failings to them.
30.
Wagner has not the power to unlock and liberate the soul of those he frequents. Wagner is not sure of himself, but distrustful and arrogant. His
art has this effect upon artists, it is envious of all rivals.
31.
Plato’s Envy. He would fain monopolise Socrates. He saturates the latter with himself, pretends to adorn him (καλὸς Σωκράτης), and tries to separate all Socratists from him in order himself to appear as the only true apostle. But his historical presentation of him is false, even to a parlous degree: just as Wagner’s presentation of Beethoven and Shakespeare is false.
32.
When a dramatist speaks about himself he plays a part: this is inevitable. When Wagner speaks about Bach and Beethoven he speaks like one for whom he would fain be taken. But he impresses only those who are already convinced, for his dissimulation and his genuine nature are far too violently at variance.
33.
Wagner struggles against the “frivolity” in his nature, which to him the ignoble (as opposed to Goethe) constituted the joy of life.
34.
Wagner has the mind of the ordinary man who prefers to trace things to
one cause. The Jews do the same: one
aim, therefore one Saviour. In this way he simplifies German and culture; wrongly but strongly.
35.
Wagner admitted all this to himself often enough when in private communion with his soul. I only wish he had also admitted it publicly. For what constitutes the greatness of a character if it is not this, that he who possesses it is able to take sides even against himself in favour of truth.
Wagner’s Teutonism. 36.
That which is un-German in Wagner. He lacks the German charm and grace of a Beethoven, a Mozart, a Weber; he also lacks the flowing, cheerful fire (
Allegro con brio) of Beethoven and Weber. He cannot be free and easy without being grotesque. He lacks modesty, indulges in big drums, and always tends to surcharge his effect. He is not the good official that Bach was. Neither has he that Goethean calm in regard to his rivals.
37.
Wagner always reaches the high-water mark of his vanity when he speaks of the German nature (incidentally it is also the height of his imprudence); for, if Frederick the Great’s justice, Goethe’s nobility and freedom from envy, Beethoven’s sublime resignation, Bach’s delicately transfigured spiritual life,—if steady work performed without any thought of glory and success, and without envy, constitute the true
German qualities, would it not seem as if Wagner almost wished to prove he is no German?
38.
Terrible wildness, abject sorrow, emptiness, the shudder of joy, unexpectedness,—in short all the qualities peculiar to the Semitic race! I believe that the Jews approach Wagner’s art with more understanding than the Aryans do.
39.
A passage concerning the Jews, taken from Taine.—As it happens, I have misled the reader, the passage does not concern Wagner at all.—But can it be possible that Wagner is a Jew? In that case we could readily understand his dislike of Jews.(17)
Footnote
[17] See note on page 37.
40.
Wagner’s art is absolutely the
art of the age: an æsthetic age would have rejected it. The more subtle people amongst us actually do reject it even now. The
coarsifying of everything æsthetic.—Compared with Goethe’s ideal it is very far behind. The moral contrast of these self-indulgent burningly loyal creatures of Wagner, acts like a
spur, like an irritant and even this sensation is turned to account in obtaining an
effect.
41.
What is it in our age that Wagner’s art expresses? That brutality and most delicate weakness which exist side by side, that running wild of natural instincts, and nervous hyper-sensitiveness, that thirst for emotion which arises from fatigue and the love of fatigue.—All this is understood by the Wagnerites.
42.
Stupefaction or intoxication constitute all Wagnerian art. On the other hand I could mention instances in which Wagner stands
higher, in which real joy flows from him.
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.
Once one theme is over, Wagner is always embarrassed as to how to continue. Hence the long preparation, the suspense. His peculiar craftiness consisted in transvaluing his weakness into virtues.—
57.
The
lack of melody and the poverty of melody in Wagner. Melody is a whole consisting of many beautiful proportions, it is the reflection of a well-ordered soul. He strives after melody; but if he finds one, he almost suffocates it in his embrace.
58.
The natural nobility of a Bach and a Beethoven, the beautiful soul (even of a Mendelssohn) are wanting in Wagner. He is one degree lower.
59.
Wagner imitates himself again and again—mannerisms. That is why he was the quickest among musicians to be imitated. It is so easy.
60.
Mendelssohn who lacked the power of radically staggering one (incidentally this was the talent of the Jews in the Old Testament), makes up for this by the things which were his own, that is to say: freedom within the law, and noble emotions kept within the limits of beauty.
61.
Liszt, the first
representative of all musicians, but
no musician. He was the prince, not the statesman. The conglomerate of a hundred musicians’ souls, but not enough of a personality to cast his own shadow upon them.
62.
The most wholesome phenomenon is
Brahms, in whose music there is more German blood than in that of Wagner’s. With these words I would say something complimentary, but by no means wholly so.
63.
In Wagner’s writings there is no greatness or peace, but presumption. Why?
64.
Wagner’s Style.—The habit he acquired, from his earliest days, of having his say in the most important matters without a sufficient knowledge of them, has rendered him the obscure and incomprehensible writer that he is. In addition to this he aspired to imitating the witty newspaper article, and finally acquired that presumption which readily joins hands with carelessness “and, behold, it was very good.”
65.
I am alarmed at the thought of how much pleasure I could find in Wagner’s style, which is so careless as to be unworthy of such an artist.
66.
In Wagner, as in Brahms, there is a blind denial of the healthy, in his followers this denial is deliberate and conscious.
67.
Wagner’s art is for those who are conscious of an essential blunder in the conduct of their lives. They feel either that they have checked a great nature by a base occupation, or squandered it through idle pursuits, a conventional marriage, &c. &c.
In this quarter the condemnation of the world is the outcome of the condemnation of the ego.
68.
Wagnerites do not wish to alter themselves in any way, they live discontentedly in insipid, conventional and brutal circumstances—only at intervals does art have to raise them as by magic above these things. Weakness of will.
69.
Wagner’s art is for scholars who do not dare to become philosophers: they feel discontented with themselves and are generally in a state of obtuse stupefaction—from time to time they take a bath in the
opposite conditions.
70.
I feel as if I had recovered from an illness: with a feeling of unutterable joy I think of Mozart’s
Requiem. I can once more enjoy simple fare.
71.
I understand Sophocles’ development through and through—it was the repugnance to pomp and pageantry.
72.
I gained an insight into the injustice of
idealism, by noticing that I avenged myself on Wagner for the disappointed hopes I had cherished of him.
73.
I leave my loftiest duty to the end, and that is to thank Wagner and Schopenhauer publicly, and to make them as it were take sides against themselves.
74.
I counsel everybody not to fight shy of such paths (Wagner and Schopenhauer). The wholly
unphilosophic feeling of remorse, has become quite strange to me.
Wagner’s Effects. 75.
We must strive to oppose the false after-effects of Wagner’s art. If he, in order to create Parsifal, is forced to pump fresh strength from religious sources, this is not an example but a danger.
76.
I entertain the fear that the effects of Wagner’s art will ultimately pour into that torrent which takes its rise on the other side of the mountains, and which knows how to flow even over mountains.(18)
Footnote
[18] It should be noted that the German Catholic party is called the Ultramontane Party. The river which can thus flow over mountains is Catholicism, towards which Nietzsche thought Wagner’s art to be tending.—
Tr. [THE END]
Friedrich Wilhelm Nietzsche's essays: Case Of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms
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