Prejudices, second seriesMencken, H. L. (Henry Louis)
History
Prejudices, second series
Mencken, H. L. (Henry Louis)
American essays -- 20th century; American literature -- History and criticism; Literature -- History and criticism
Shakespeare and Ann Hathaway, Wagner and Minna Planer, Molière and
Armande Béjart--one might multiply instances almost endlessly. Minna,
at least in theory, knew something of music; she was thus what romance
regards as an ideal wife for Wagner. But instead of helping him to
manufacture his incomparable masterpieces, she was for twenty-five
years the chief impediment to their manufacture. "Lohengrin" gave her
the horrors; she begged Richard to give up his lunacies and return
to the composition of respectable cornet music. In the end he had to
get rid of her in sheer self-defense. Once free, with nothing worse
on his hands than the illicit affection of Cosima Liszt von Bülow,
he produced music drama after music drama in rapid succession. Then,
married to Cosima, he descended to the anticlimax of "Parsifal," a
truly tragic mixture of the stupendous and the banal, of work of genius
and _sinfonia domestica_--a great man dying by inches, smothered by the
smoke of French fried potatoes, deafened by the wailing of children,
murdered in his own house by the holiest of passions.
Sentimentalists always bring up the case of Schumann and his Clara
in rebuttal. But does it actually rebut? I doubt it. Clara, too,
perpetrated her _attentat_ against art. Her fair white arms, lifting
from the keyboard to encircle Robert's neck, squeezed more out of
him than mere fatuous smirks. He had the best head on him that music
had seen since Beethoven's day; he was, on the cerebral side, a
colossus; he might have written music of the very first order. Well,
what he _did_ write was piano music--some of it imperfectly arranged
for orchestra. The sad eyes of Clara were always upon him. He kept
within the limits of her intelligence, her prejudices, her wifely
love. No grand experiments with the orchestra. No superb leapings and
cavortings. No rubbing of sand-paper over critical ears. Robert lived
and died a respectable musical _Hausvater._ He was a man of genuine
genius--but he didn't leave ten lines that might not have been passed
by old Prof. Jadassohn.
Public-domain text, read in full here on John Shaqi.
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