Richard Wagner and His Poetical Work from Rienzi to Parsifal

Example in this ebook. Will the reader kindly look upon the first pages of this book as a fragment of reminiscences which I hope some day to publish; not that my life in itself is worth relating but it has been frequently brought in contact with that of celebrated artists. It treats here of certain experiences only written as if for myself—reminiscences gathered during several years of uninterrupted relations with Richard Wagner. The books already published on the master in every language and every style either to combat or glorify him would fill a shelf; the catalogue of these criticisms studies and biographies would form a volume. Thus the subject of his defeats victories and what is termed his musical system has been exhausted; repetition is therefore useless.Beside this I have of late renounced all idea of proselytism; after a long struggle I abandon the contest at the moment when to many victory seems most probable. I have reasons for this which I do not care to indicate but which seem to me decisive. What I have for so long a time taken to be the customary and fatal resistance the instinctive hatred which is experienced by every public in every country for the innovations of genius is I fear in France something even more. Our quick intelligence so light so mobile so disposed to mockery deprives us of that quality so indispensable to the comprehension of master works—simplicity. We cannot refrain from finding something to ridicule in grand sentiments sublimity and noble or terrible passions; what pleases us above all is graceful spirited art slightly sentimental quick observation and arrows of satire; also no people can rival us when comic operas vaudevilles and comedies of manners are in question.Art is for us an amusement. We frankly weary of anything serious and if by chance we happen to admit a masterpiece upon the scenes it is simply on the score of curiosity. Does a theatre exist in Paris this world's capital where the great works lyrical and dramatic of the entire world may be represented? Who troubles himself about Calderon Schiller Goethe Shakspeare? While absurd fairy scenes and miserable comedies in which the only discoverable merit is the play or personality of the actors and scenes of disgraceful realism remain upon the boards during a whole year Othello drags painfully on barely reaching the twentieth representation. It will perhaps be urged that the Frenchman dare not travel and that works of art created outside of his own little world do not interest him. And Victor Hugo! Is there any sort of indignity or outrage which has been spared him in his own country? It is true that after sixty years of contest his glory radiates at last splendid and triumphant. Well where is Victor Hugo's theatre? Has the new generation ever seen the representations of this master's greatest works? Les Burgraves Cromwell and Le Roi qui S'Amuse. This last drama it is true is about to reappear upon the stage. But fifty years will have intervened between its first and second representations. Why hope that Richard Wagner should stand a better chance of vanquishing the native antipathy of the French public to serious works than Shakspeare who after three hundred years has not yet triumphed among us; than Victor Hugo the greatest glory of France? Are the enchantments of music capable of working this miracle? It is possible but I no longer hope for it. The success of Lohengrin in Paris is probable but we shall go no farther. Neither the great Scandinavian epopée nor the metaphysical loves of Tristan and Isolde nor the mysticism of Parsifal will reach us. For this reason recognizing the generous error in which I have so long persisted I renounce all sterile efforts and blessing the invention of railroads I go bravely toward the mountain which cannot be brought to me.. To be continue in this ebook...........................................................