The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms. — Nietzsche — John Shaqi
The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.
Nietzsche · en
However, as a famous English judge has said—“Truth will come out, even in
the witness box,” and, as we may add in this case, even in an
autobiography. There is one statement in Wagner’s _My Life_ which sounds
true to my ears at least—a statement which, in my opinion, has some
importance, and to which Wagner himself seems to grant a mysterious
significance. I refer to the passage on p. 93 of vol i., in which Wagner
says:—“Owing to the exceptional vivacity and innate susceptibility of my
nature … I gradually became conscious of a certain power of transporting
or bewildering my more indolent companions.”
This seems innocent enough. When, however, it is read in conjunction with
Nietzsche’s trenchant criticism, particularly on pp. 14, 15, 16, 17 and 18
of this work, and also with a knowledge of Wagner’s music, it becomes one
of the most striking passages in Wagner’s autobiography, for it records
how soon he became conscious of his dominant instinct and faculty.
I know perfectly well that the Wagnerites will not be influenced by these
remarks. Their gratitude to Wagner is too great for this. He has supplied
the precious varnish wherewith to hide the dull ugliness of our
civilisation. He has given to souls despairing over the materialism of
this world, to souls despairing of themselves, and longing to be rid of
themselves, the indispensable hashish and morphia wherewith to deaden
their inner discords. These discords are everywhere apparent nowadays.
Wagner is therefore a common need, a common benefactor. As such he is
bound to be worshipped and adored in spite of all egotistical and
theatrical autobiographies.
Albeit, signs are not wanting—at least among his Anglo-Saxon worshippers
who stand even more in need of romanticism than their continental
brethren,—which show that, in order to uphold Wagner, people are now
beginning to draw distinctions between the man and the artist. They
dismiss the man as “human-all-too-human,” but they still maintain that
there are divine qualities in his music. However distasteful the task of
disillusioning these psychological tyros may be, they should be informed
that no such division of a man into two parts is permissible, save in
Christianity (the body and the soul), but that outside purely religious
spheres it is utterly unwarrantable. There can be no such strange divorce
between a bloom and the plant on which it blows, and has a black woman
ever been known to give birth to a white child?