A man who, for all his fine qualities, had two or three grave defects of character of this kind, was likely to make as many enemies as friends—perhaps more. The worshipping official type of biographer paints for us a sort of ineffable13 angel of a Wagner, always in the right, always misunderstood and traduced14. The untruthfulness of the portrait is evident to the most casual readers of the letters and the autobiography15. Wagner's now notorious laxity of principle with respect to money matters must have been common knowledge in the small provincial16 towns in which he lived, and must have done a good deal to make him distrusted and disliked. In addition, his frequent irascibility and rudeness must have made many enemies for him. In Mein Leben—more candid17 and more critical in this respect than his incense-bearers—he makes several confessions18 on this score. His outbursts can no doubt be mostly explained by the irritability19 of his temperament20 and its swift transitions of mood, by his frequently bad health, or by the action of wine. But it is one thing to make allowances for a man's failings of temper or manners half a century or so after the event; it is another to make allowances at the time. We smile now at the stories that are told of Beethoven's grossness and ill-breeding; but had we experienced the effect of these at first-hand we should certainly have voted him an impossible person to live with. Wagner was undoubtedly21 very trying to live with at times. In Mein Leben he occasionally gives us a glimpse of himself in his least likeable moods. In 1834 he visits Prague, where he meets again some people whose acquaintance he had made on a previous visit there—the daughters of the recently deceased Count Pachta. With one or both of these girls the ever-amorous young man had apparently22 been in love. "My behaviour," he says, "was wild and arrogant23; in this way the bitter feelings with which I had formerly24 taken leave of this circle now found expression in a capricious passion for revenge." He does nothing but indulge in the maddest pranks25. "They could not understand this astounding26 change in me; there was no longer in me any of the old love of intimacy27, the mania28 for instructing, the zeal29 for converting,[51] that they had previously30 found so annoying. But at the same time no one could get a sensible word out of me, and the ladies, who were now disposed to discuss many things seriously, got no answer from me but the wildest buffoonery."[52]
Every now and then, in his account of the misunderstandings with Minna, he confesses to the coarseness of his language when he was angry, the "raging vehemence31" of his insults, the "unrestrained violence" of his speech and behaviour. Nietzsche has given us a hint of what Wagner could be in a mood of this kind.[53] In Dresden especially, in the years of his conductorship (1842-49), he appears to have made many enemies, particularly among the critics. These gentlemen were, of course, generally wrong as against Wagner in matters of art. But though musical critics are frequently stupid, they are not, as a rule, all stupid in the same way. It is possible, as many of the modern Wagnerians have shown, to be as stupid in approbation32 of Wagner as anyone could be in disapprobation of him. So that when we find the critics—in Dresden, for example—so uniformly opposed to Wagner, it is a fair supposition that there was more behind their words than mere33 disapproval34 of his art or his theories. They apparently pursued him with unusual rancor35. Even in the absence of evidence, we should be entitled to assume that when a man becomes the object of such general and unrelenting hostility36 in his own town, it implies some defects in his own character as well as in those of his assailants. Evidence is not lacking that this was so. Wagner, we all know, loved most those who agreed with him, and had no use at all for men of opposite ways of thinking.[54] His constant craving37 for love in life had its counterpart in his desire to be approved and believed in as an artist. In Mein Leben he is always praising someone or other for his devotion to him, and speaking coolly or angrily of others for their indifference38 to his concerns. Alwine Frommann is "faithfully devoted39" to him; he speaks of Bülow's "warm and heart-felt devotion"; the Laussots, the Ritters, Uhlig, and others are all lauded40 for their "devotion," their "fidelity41." He speaks well of Meyerbeer so long as he believes his interests are being furthered by him, and turns on him and makes sundry42 unproved and unprovable charges against him when he thinks his aid is withdrawn43. One does not censure44 him for this: rational criticism aims less at giving or withholding45 marks for conduct than at understanding the complexities46 of human nature. One merely notes the idiosyncrasy, not unsympathetically, and tries to see how it worked in the actualities of life. A nature of this kind was constitutionally incapable47 of taking criticism philosophically48; the critic's sin would not be against the artist so much as against the art. And granting that many of his critics were not very intelligent men, it is clear that part at least of their enmity towards him was the result of his own tactless attitude towards them. "Though I was anxious to be obliging with everyone, yet I always felt an unconquerable aversion to showing special consideration towards any man because he was a critic. In the course of time I carried this to the point of almost studied rudeness, as a consequence of which I was my whole life long the victim of unheard-of persecution49 from the press."[55] It seems probable that his studiously unconciliatory manners brought him more ill-will than was ever necessary.
That the mere lack of intelligence of some of these critics was not the reason for his rudeness to them is shown by the warmth of his welcome to critics no more intelligent who happened to be with him instead of against him. A certain Gaillard, of Berlin, happened to have written an "entirely50 favorable" criticism of the Flying Dutchman. "Although," he na?vely says, "I had already of necessity accustomed myself to be indifferent as to the attitude of the critics, this particular article impressed me greatly, and I invited the unknown writer to Dresden to hear the first performance of Tannh?user." The young man comes to Dresden, and Wagner is distressed51 to find that he is threatened with consumption. "I saw from his knowledge and capabilities52 that he would never attain53 to any great influence; but his sincerity54 of soul and the receptivity of his intelligence filled me with genuine regard for the poor man." He dies in a few years, "having never swerved55 from his fidelity to and thoughtfulness for me, even in the most trying circumstances."[56] In other words, he was that very common product, an enthusiastic admirer possessed56 of only limited intelligence; but his "fidelity" was sufficient to make Wagner tolerate and even like him. It looks as if the "systematic57 rudeness" was not for "the critics," but only for the critics who disagreed with Wagner.
How badly he could behave when irritated by the press was shown by his incessant58 insinuations against the honesty of the London critics during and after his conducting of the Philharmonic Concerts in 1855. There is no proof forthcoming of their being bribed59 to oppose him. Mr. Ashton Ellis, who has gone thoroughly60 into the newspaper history of that period, and who will not be suspected of any desire to smooth matters over for Wagner's antagonists61, gives it as his opinion that "James Davison bears the character of an unimpeachably62 honest 'gentleman.'" But Wagner could never imagine any other motive63 for opposing him except (1) that the opponent was paid to do so, or (2) that he was either a Jew or under the orders of the Jews.[57] In a letter to Otto Wesendonck of 5th April he vents64 his rancour against Davison and Chorley, and recklessly charges them with being corrupt65: "they are paid to keep me down, and thus they earn their daily bread."[58] He throws out a hint to the same effect in Mein Leben.
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1 supercilious | |
adj.目中无人的,高傲的;adv.高傲地;n.高傲 | |
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2 irritable | |
adj.急躁的;过敏的;易怒的 | |
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3 perverse | |
adj.刚愎的;坚持错误的,行为反常的 | |
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4 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
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5 justify | |
vt.证明…正当(或有理),为…辩护 | |
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6 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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7 inclination | |
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好 | |
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8 incurable | |
adj.不能医治的,不能矫正的,无救的;n.不治的病人,无救的人 | |
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9 rosiest | |
adj.玫瑰色的( rosy的最高级 );愉快的;乐观的;一切都称心如意 | |
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10 condone | |
v.宽恕;原谅 | |
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11 callousness | |
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12 creditors | |
n.债权人,债主( creditor的名词复数 ) | |
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13 ineffable | |
adj.无法表达的,不可言喻的 | |
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14 traduced | |
v.诋毁( traduce的过去式和过去分词 );诽谤;违反;背叛 | |
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15 autobiography | |
n.自传 | |
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16 provincial | |
adj.省的,地方的;n.外省人,乡下人 | |
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17 candid | |
adj.公正的,正直的;坦率的 | |
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18 confessions | |
n.承认( confession的名词复数 );自首;声明;(向神父的)忏悔 | |
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19 irritability | |
n.易怒 | |
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20 temperament | |
n.气质,性格,性情 | |
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21 undoubtedly | |
adv.确实地,无疑地 | |
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22 apparently | |
adv.显然地;表面上,似乎 | |
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23 arrogant | |
adj.傲慢的,自大的 | |
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24 formerly | |
adv.从前,以前 | |
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25 pranks | |
n.玩笑,恶作剧( prank的名词复数 ) | |
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26 astounding | |
adj.使人震惊的vt.使震惊,使大吃一惊astound的现在分词) | |
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27 intimacy | |
n.熟悉,亲密,密切关系,亲昵的言行 | |
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28 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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29 zeal | |
n.热心,热情,热忱 | |
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30 previously | |
adv.以前,先前(地) | |
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31 vehemence | |
n.热切;激烈;愤怒 | |
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32 approbation | |
n.称赞;认可 | |
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33 mere | |
adj.纯粹的;仅仅,只不过 | |
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34 disapproval | |
n.反对,不赞成 | |
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35 rancor | |
n.深仇,积怨 | |
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36 hostility | |
n.敌对,敌意;抵制[pl.]交战,战争 | |
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37 craving | |
n.渴望,热望 | |
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38 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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39 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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40 lauded | |
v.称赞,赞美( laud的过去式和过去分词 ) | |
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41 fidelity | |
n.忠诚,忠实;精确 | |
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42 sundry | |
adj.各式各样的,种种的 | |
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43 withdrawn | |
vt.收回;使退出;vi.撤退,退出 | |
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44 censure | |
v./n.责备;非难;责难 | |
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45 withholding | |
扣缴税款 | |
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46 complexities | |
复杂性(complexity的名词复数); 复杂的事物 | |
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47 incapable | |
adj.无能力的,不能做某事的 | |
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48 philosophically | |
adv.哲学上;富有哲理性地;贤明地;冷静地 | |
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49 persecution | |
n. 迫害,烦扰 | |
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50 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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51 distressed | |
痛苦的 | |
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52 capabilities | |
n.能力( capability的名词复数 );可能;容量;[复数]潜在能力 | |
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53 attain | |
vt.达到,获得,完成 | |
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54 sincerity | |
n.真诚,诚意;真实 | |
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55 swerved | |
v.(使)改变方向,改变目的( swerve的过去式和过去分词 ) | |
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56 possessed | |
adj.疯狂的;拥有的,占有的 | |
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57 systematic | |
adj.有系统的,有计划的,有方法的 | |
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58 incessant | |
adj.不停的,连续的 | |
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59 bribed | |
v.贿赂( bribe的过去式和过去分词 );向(某人)行贿,贿赂 | |
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60 thoroughly | |
adv.完全地,彻底地,十足地 | |
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61 antagonists | |
对立[对抗] 者,对手,敌手( antagonist的名词复数 ); 对抗肌; 对抗药 | |
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62 unimpeachably | |
adv.无可怀疑地,可靠地;无可指责地 | |
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63 motive | |
n.动机,目的;adv.发动的,运动的 | |
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64 vents | |
(气体、液体等进出的)孔、口( vent的名词复数 ); (鸟、鱼、爬行动物或小哺乳动物的)肛门; 大衣等的)衩口; 开衩 | |
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65 corrupt | |
v.贿赂,收买;adj.腐败的,贪污的 | |
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