Friedrich Nietzsche - Thoughts out of Season, Part I (Chap. 2.10) lyrics

An artist who has this empire over himself subjugates all other artists, even though he may not particularly desire to do so. For him alone there lies no danger or stemming-force in those he has subjugated—his friends and his adherents; whereas the weaker natures who learn to rely on their friends pay for this reliance by forfeiting their independence. It is very wonderful to observe how carefully, throughout his life, Wagner avoided anything in the nature of heading a party, notwithstanding the fact that at the close of every phase in his career a circle of adherents formed, presumably with the view of holding him fast to his latest development He always succeeded, however, in wringing himself free from them, and never allowed himself to be bound; for not only was the ground he covered too vast for one alone to keep abreast of him with any ease, but his way was so exceptionally steep that the most devoted would have lost his breath. At almost every stage in Wagner's progress his friends would have liked to preach to him, and his enemies would fain have done so too—but for other reasons. Had the purity of his artist's nature been one degree less decided than it was, he would have attained much earlier than he actually did to the leading position in the artistic and musical world of his time. True, he has reached this now, but in a much higher sense, seeing that every performance to be witnessed in any department of art makes its obeisance, so to speak, before the judgment-stool of his genius and of his artistic temperament. He has overcome the most refractory of his contemporaries; there is not one gifted musician among them but in his innermost heart would willingly listen to him, and find Wagner's compositions more worth listening to than his own and all other musical productions taken together. Many who wish, by hook or by crook, to make their mark, even wrestle with Wagner's secret charm, and unconsciously throw in their lot with the older masters, preferring to ascribe their "independence" to Schubert or Handel rather than to Wagner. But in vain! Thanks to their very efforts in contending against the dictates of their own consciences, they become ever meaner and smaller artists; they ruin their own natures by forcing themselves to tolerate undesirable allies and friends And in spite of all these sacrifices, they still find perhaps in their dreams, that their ear turns attentively to Wagner. These adversaries are to be pitied: they imagine they lose a great deal when they lose themselves, but here they are mistaken. Albeit it is obviously all one to Wagner whether musicians compose in his style, or whether they compose at all, he even does his utmost to dissipate the belief that a school of composers should now necessarily follow in his wake; though, in so far as he exercises a direct influence upon musicians, he does indeed try to instruct them concerning the art of grand execution. In his opinion, the evolution of art seems to have reached that stage when the honest endeavour to become an able and masterly exponent or interpreter is ever so much more worth talking about than the longing to be a creator at all costs. For, at the present stage of art, universal creating has this fatal result, that inasmuch as it encourages a much larger output, it tends to exhaust the means and artifices of genius by everyday use, and thus to reduce the real grandeur of its effect. Even that which is good in art is superfluous and detrimental when it proceeds from the imitation of what is best. Wagnerian ends and means are of one piece: to perceive this, all that is required is honesty in art matters, and it would be dishonest to adopt his means in order to apply them to other and less significant ends. If, therefore, Wagner declines to live on amid a multitude of creative musicians, he is only the more desirous of imposing upon all men of talent the new duty of joining him in seeking the law of style for dramatic performances. He deeply feels the need of establishing a traditional style for his art, by means of which his work may continue to live from one age to another in a pure form, until it reaches that future which its creator ordained for it. Wagner is impelled by an undaunted longing to make known everything relating to that foundation of a style, mentioned above, and, accordingly, everything relating to the continuance of his art. To make his work—as Schopenhauer would say— a sacred depository and the real fruit of his life, as well as the inheritance of mankind, and to store it for the benefit of a posterity better able to appreciate it,—these were the supreme objects of his life, and for these he bore that crown of thorns which, one day, will shoot forth leaves of bay. Like the insect which, in its last form, concentrates all its energies upon the one object of finding a safe depository for its eggs and of ensuring the future welfare of its posthumous brood,—then only to die content, so Wagner strove with equal determination to find a place of security for his works. This subject, which took precedence of all others with him, constantly incited him to new discoveries; and these he sought ever more and more at the spring of his demoniacal gift of communicability, the more distinctly he saw himself in conflict with an age that was both perverse and unwilling to lend him its ear. Gradually however, even this same age began to mark his indefatigable efforts, to respond to his subtle advances, and to turn its ear to him. Whenever a small or a great opportunity arose, however far away, which suggested to Wagner a means wherewith to explain his thoughts, he availed himself of it: he thought his thoughts anew into every fresh set of circumstances, and would make them speak out of the most paltry bodily form. Whenever a soul only half capable of comprehending him opened itself to him, he never failed to implant his seed in it. He saw hope in things which caused the average dispa**ionate observer merely to shrug his shoulders; and he erred again and again, only so as to be able to carry his point against that same observer. Just as the sage, in reality, mixes with living men only for the purpose of increasing his store of knowledge, so the artist would almost seem to be unable to a**ociate with his contemporaries at all, unless they be such as can help him towards making his work eternal. He cannot be loved otherwise than with the love of this eternity, and thus he is conscious only of one kind of hatred directed at him, the hatred which would demolish the bridges bearing his art into the future. The pupils Wagner educated for his own purpose, the individual musicians and actors whom he advised and whose ear he corrected and improved, the small and large orchestras he led, the towns which witnessed him earnestly fulfilling the duties of ws calling, the princes and ladies who half boastfully and half lovingly participated in the framing of his plans, the various European countries to which he temporarily belonged as the judge and evil conscience of their arts,—everything gradually became the echo of his thought and of his indefatigable efforts to attain to fruitfulness in the future. Although this echo often sounded so discordant as to confuse him, still the tremendous power of his voice repeatedly crying out into the world must in the end call forth reverberations, and it will soon be impossible to be deaf to him or to misunderstand him. It is this reflected sound which even now causes the art-institutions of modern men to shake: every time the breath of his spirit blew into these coverts, all that was overripe or withered fell to the ground; but the general increase of scepticism in all directions speaks more eloquently than all this trembling. Nobody any longer dares to predict where Wagner's influence may not unexpectedly break out. He is quite unable to divorce the salvation of art from any other salvation or damnation: wherever modern life conceals a danger, he, with the discriminating eye of mistrust, perceives a danger threatening art. In his imagination he pulls the edifice of modern civilisation to pieces, and allows nothing rotten, no unsound timber-work to escape: if in the process he should happen to encounter weather-tight walls or anything like solid foundations, he immediately casts about for means wherewith he can convert them into bulwarks and shelters for his art. He lives like a fugitive, whose will is not to preserve his own life, but to keep a secret— like an unhappy woman who does not wish to save her own soul, but that of the child lying in her lap: in short, he lives like Sieglinde, "for the sake of love." For life must indeed be full of pain and shame to one who can find neither rest nor shelter in this world, and who must nevertheless appeal to it, exact things from it, contemn it, and still be unable to dispense with the thing contemned, —this really constitutes the wretchedness of the artist of the future, who, unlike the philosopher, cannot prosecute his work alone in the seclusion of a study, but who requires human souls as messengers to this future, public institutions as a guarantee of it, and, as it were, bridges between now and hereafter. His art may not, like the philosopher's, be put aboard the boat of written documents: art needs capable men, not letters and notes, to transmit it. Over whole periods in Wagner's life rings a murmur of distress—his distress at not being able to meet with these capable interpreters before whom he longed to execute examples of his work, instead of being confined to written symbols; before whom he yearned to practise his art, instead of showing a pallid reflection of it to those who read books, and who, generally speaking, therefore are not artists. In Wagner the man of letters we see the struggle of a brave fighter, whose right hand has, as it were, been lopped off, and who has continued the contest with his left. In his writings he is always the sufferer, because a temporary and insuperable destiny deprives him of his own and the correct way of conveying his thoughts—that is to say, in the form of apocalyptic and triumphant examples. His writings contain nothing canonical or severe: the canons are to be found in his works as a whole. Their literary side represents his attempts to understand the instinct which urged him to create his works and to get a glimpse of himself through them. If he succeeded in transforming his instincts into terms of knowledge, it was always with the hope that the reverse process might take place in the souls of his readers—it was with this intention that he wrote. Should it ultimately be proved that, in so doing, Wagner attempted the impossible, he would still only share the lot of all those who have meditated deeply on art; and even so he would be ahead of most of them in this, namely, that the strongest instinct for all arts harboured in him. I know of no written aesthetics that give more light than those of Wagner; all that can possibly be learnt concerning the origin of a work of art is to be found in them. He is one of the very great, who appeared amongst us a witness, and who is continually improving his testimony and making it ever clearer and freer; even when he stumbles as a scientist, sparks rise from the ground. Such tracts as "Beethoven," "Concerning the Art of Conducting," "Concerning Actors and Singers," "State and Religion," silence all contradiction, and, like sacred reliquaries, impose upon all who approach them a calm, earnest, and reverential regard. Others, more particularly the earlier ones, including "Opera and Drama," excite and agitate one; their rhythm is so uneven that, as prose they are bewildering. Their dialectics is constantly interrupted, and their course is more retarded than accelerated by outbursts of feeling; a certain reluctance on the part of the writer seems to hang over them like a pall, just as though the artist were somewhat ashamed of speculative discussions. What the reader who is only imperfectly initiated will probably find most oppressive is the general tone of authoritative dignity which is peculiar to Wagner, and which is very difficult to describe: it always strikes me as though Wagner were continually addressing enemies; for the style of all these tracts more resembles that of the spoken than of the written language, hence they will seem much more intelligible if heard read aloud, in the presence of his enemies, with whom he cannot be on familiar terms, and towards whom he must therefore show some reserve and aloofness, The entrancing pa**ion of his feelings, however, constantly pierces this intentional disguise, and then the stilted and heavy periods, swollen with accessary words, vanish, and his pen dashes off sentences, and even whole pages, which belong to the best in German prose. But even admitting that while he wrote such pa**ages he was addressing friends, and that the shadow of his enemies had been removed for a while, all the friends and enemies that Wagner, as a man of letters, has, possess one factor in common, which differentiates them fundamentally from the "people" for whom he worked as an artist. Owing to the refining and fruitless nature of their education, they are quite devoid of the essential traits of the national character, and he who would appeal to them must speak in a way which is not of the people—that is to say, after the manner of our best prose-writers and Wagner himself; though that he did violence to himself in writing thus is evident. But the strength of that almost maternal instinct of prudence in him, which is ready to make any sacrifice, rather tends to reinstall him among the scholars and men of learning, to whom as a creator he always longed to bid farewell. He submits to the language of culture and all the laws governing its use, though he was the first to recognise its profound insufficiency as a means of communication. For if there is anything that distinguishes his art from every other art of modern times, it is that it no longer speaks the language of any particular caste, and refuses to admit the distinctions "literate" and "illiterate." It thus stands as a contrast to every culture of the Renaissance, which to this day still bathes us modern men in its light and shade. Inasmuch as Wagner's art bears us, from time to time, beyond itself, we are enabled to get a general view of its uniform character: we see Goethe and Leopardi as the last great stragglers of the Italian philologist-poets, Faust as the incarnation of a most unpopular problem, in the form of a man of theory thirsting for life; even Goethe's song is an imitation of the song of the people rather than a standard set before them to which they are expected to attain, and the poet knew very well how truly he spoke when he seriously a**ured his adherents: "My compositions cannot become popular; he who hopes and strives to make them so is mistaken." That an art could arise which would be so clear and warm as to flood the base and the poor in spirit with its light, as well as to melt the haughtiness of the learned—such a phenomenon had to be experienced though it could not be guessed. But even in the mind of him who experiences it to-day it must upset all preconceived notions concerning education and culture; to such an one the veil will seem to have been rent in twain that conceals a future in which no highest good or highest joys exist that are not the common property of all. The odium attaching to the word "common" will then be abolished. If presentiment venture thus into the remote future, the discerning eye of all will recognise the dreadful social insanity of our present age, and will no longer blind itself to the dangers besetting an art which seems to have roots only in the remote and distant future, and which allows its burgeoning branches to spread before our gaze when it has not yet revealed the ground from which it draws its sap. How can we protect this homeless art through the ages until that remote future is reached? How can we so dam the flood of a revolution seemingly inevitable everywhere, that the blessed prospect and guarantee of a better future—of a freer human life—shall not also be washed away with all that is destined to perish and deserves to perish? He who asks himself this question shares Wagner's care: he will feel himself impelled with Wagner to seek those established powers that have the goodwill to protect the noblest pa**ions of man during the period of earthquakes and upheavals. In this sense alone Wagner questions the learned through his writings, whether they intend storing his legacy to them—the precious Ring of his art—among their other treasures. And even the wonderful confidence which he reposes in the German mind and the aims of German politics seems to me to arise from the fact that he grants the people of the Reformation that strength, mildness, and bravery which is necessary in order to divert "the torrent of revolution into the tranquil river-bed of a calmly flowing stream of humanity": and I could almost believe that this and only this is what he meant to express by means of the symbol of his Imperial march. As a rule, though, the generous impulses of the creative artist and the extent of his philanthropy are too great for his gaze to be confined within the limits of a single nation. His thoughts, like those of every good and great German, are more than German, and the language of his art does not appeal to particular races but to mankind in general. But to the men of the future. This is the belief that is proper to him; this is his torment and his distinction. No artist, of what past soever, has yet received such a remarkable portion of genius; no one, save him, has ever been obliged to mix this bitterest of ingredients with the drink of nectar to which enthusiasm helped him. It is not as one might expect, the misunderstood and mishandled artist, the fugitive of his age, who adopted this faith in self-defence: success or failure at the hands of his contemporaries was unable either to create or to destroy it Whether it glorified or reviled him, he did not belong to this generation: that was the conclusion to which his instincts led him. And the possibility of any generation's ever belonging to him is something which he who disbelieves in Wagner can never be made to admit. But even this unbeliever may at least ask, what kind of generation it will be in which Wagner will recognise his "people," and in which he will see the type of all those who suffer a common distress, and who wish to escape from it by means of an art common to them all. Schiller was certainly more hopeful and sanguine; he did not ask what a future must be like if the instinct of the artist that predicts it prove true; his command to every artist was rather— Soar aloft in daring flight Out of sight of thine own years! In thy mirror, gleaming bright, Glimpse of distant dawn appears.