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 assured his adherents: "Mycompositions 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 withWagner to seek those established powers that have the goodwill to protect the noblest passions 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, aremore 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 misunderstoodand 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 flightOut of sight of thine own years!In thy mirror, gleaming bright,Glimpse of distant dawn appears.
May blessed reason preserve us from ever thinking that mankind will at any time discover a final and ideal order of things, and that happiness will then and ever after beam down upon us uniformly, like the rays of the sun in the tropics. Wagner has nothing to do with such a hope; he isno Utopian. If he was unable to dispense with the belief in a future, it only meant that he observed certain properties in modern men which he did not hold to be essential to their nature, and which did not seem to him to form any necessary part of their constitution; in fact, which were changeable and transient; and that preciselyowing to these propertiesart would find no home among them, and he himself had to be the precursor and prophet of another epoch. No golden age, no cloudless sky will fall to the portion of those future generations, which his instinct led him to expect, and whose approximate characteristics may be gleaned from the cryptic characters of his art, in so far as it is possible to draw conclusions concerning the nature of any pain from the kind of relief it seeks. Nor will superhuman goodness and justice stretch like an everlasting rainbow over this future land. Belike this coming generation will, on the whole, seem more evil than the present one—for in good as in evil it will be morestraightforward. It is even possible, if its soul were ever able to speak out in full and unembarrassed tones, that it might convulse and terrify us, as though the voice of some hitherto concealed and evil spirit had suddenly cried out in our midst. Or how do the following propositions strike our ears?—That passion is better than stoicism or hypocrisy; that straightforwardness, even in evil, is better than losing oneself in trying to observe traditional morality; that the free man is just as able to be good as evil, but that the unemancipated man is a disgrace to nature, andhas no share in heavenly or earthly bliss; finally, that all who wish to be free must become so through themselves, and that freedom falls to nobody's lot as a gift from Heaven. However harsh and strange these propositions may sound, they are nevertheless reverberations from that future world, whichis verily in need of art, and which expects genuine pleasure from its presence; they are the language of nature—reinstatedeven in mankind; they stand for what I have already termed correct feeling as opposed to the incorrect feeling that reigns to-day.
But real relief or salvation exists only for nature not for that which is contrary to nature or which arises out of incorrect feeling. When all that is unnatural becomes self-conscious, it desires but one thing—nonentity; the natural thing, on the other hand, yearns to be transfigured through love: the former would fainnotbe, the latter would fain beotherwise. Let him who has understood this recall, in the stillness of his soul, the simple themes of Wagner's art, in order to be able to ask himself whether it were nature or nature's opposite which sought by means of them to achieve the aims just described.
The desperate vagabond finds deliverance from his distress in the compassionate love of a woman who would rather die than be unfaithful to him: the theme of the Flying Dutchman. The sweet-heart, renouncing all personal happiness, owing to a divine transformation of Love into Charity, becomes a saint, and saves the soul of her loved one: the theme of Tannhäuser. The sublimestand highest thing descends a suppliant among men, and will not be questioned whence it came; when, however, the fatal question is put, it sorrowfully returns to its higher life: the theme of Lohengrin. The loving soul of a wife, and the people besides, joyfully welcome the new benevolent genius, although the retainers of tradition and custom reject and revile him: the theme of the Meistersingers. Of two lovers, that do not know they are loved, who believe rather that they are deeply wounded and contemned, each demands of the other that he or she should drink a cup of deadly poison, to all intents and purposes as an expiation of the insult; in reality, however, as the result of an impulse which neither of them understands: through death they wish to escape all possibility of separation or deceit. The supposed approach of death loosens their fettered souls and allows them a short moment of thrilling happiness, just as though they had actually escaped from the present, from illusions and from life: the theme of Tristan and Isolde.
In the Ring of the Nibelung the tragic hero is a god whose heart yearns for power, and who, since he travels along all roads in search of it, finally binds himself to too many undertakings, loses his freedom, and is ultimately cursed by the curse inseparable from power. He becomes aware of his loss of freedom owing to the fact that he no longer has the means to take possession of the golden Ring—that symbol of all earthly power, and also of the greatest dangers to himself as long as it lies in the hands of his enemies. The fear ofthe end and the twilight of all gods overcomes him, as also the despair at being able only to await the end without opposing it. He is in need of the free and fearless man who, without his advice or assistance—even in a struggle against gods—can accomplish single-handed what is denied to the powers of a god. He fails to see him, and just as a new hope finds shape within him, he must obey the conditions to which he is bound: with his own hand he must murder the thing he most loves, and purest pity must be punished by his sorrow. Then he begins to loathe power, which bears evil and bondage in its lap; his will is broken, and he himself begins to hanker for the end that threatens him from afar off. At this juncture something happens which had long been the subject of his most ardent desire: the free and fearless man appears, he rises in opposition to everything accepted and established, his parents atone for having been united by a tie which was antagonistic to the order of nature and usage; they perish, but Siegfried survives. And at the sight of his magnificent development and bloom, the loathing leaves Wotan's soul, and he follows the hero's history with the eye of fatherly love and anxiety. How he forges his sword, kills the dragon, gets possession of the ring, escapes the craftiest ruse, awakens Brunhilda; how the curse abiding in the ring gradually overtakes him; how, faithful in faithfulness, he wounds the thing he most loves, out of love; becomes enveloped in the shadow and cloud of guilt, and, rising out of it more brilliantly than the sun, ultimately goes down, firing the wholeheavens with his burning glow and purging the world of the curse,—all this is seen by the god whose sovereign spear was broken in the contest with the freest man, and who lost his power through him, rejoicing greatly over his own defeat: full of sympathy for the triumph and pain of his victor, his eye burning with aching joy looks back upon the last events; he has become free through love, free from himself.
And now ask yourselves, ye generation of to-day, Was all this composedfor you? Have ye the courage to point up to the stars of the whole of this heavenly dome of beauty and goodness and to say, This is our life, that Wagner has transferred to a place beneath the stars?
Where are the men among you who are able to interpret the divine image of Wotan in the light of their own lives, and who can become ever greater while, like him, ye retreat? Who among you would renounce power, knowing and having learned that power is evil? Where are they who like Brunhilda abandon their knowledge to love, and finally rob their lives of the highest wisdom, "afflicted love, deepest sorrow, opened my eyes"? and where are the free and fearless, developing and blossoming in innocent egoism? and where are the Siegfrieds, among you?
He who questions thus and does so in vain, will find himself compelled to look around him for signs of the future; and should his eye, on reaching an unknown distance, espy just that "people" which his own generation can read out of the signs contained in Wagnerian art, he will then also understandwhat Wagner will mean to this people—something that he cannot be to all of us, namely, not the prophet of the future, as perhaps he would fain appear to us, but the interpreter and clarifier of the past.