Wagner himself sings the praises of the earlier Minna frequently enough. The picture we first get of her is that of a pretty bourgeoise, of no great intellectual capacity, but modest, sensible and sympathetic. On the other hand, several of Wagner's self-revelations show him in his youth as the harum-scarum one might expect a genius of his dynamic temperament2 to be—not vicious, perhaps, in the style of more stupid men, but keen for pleasure, and anxious to taste every vintage that life could offer him. His early life probably differed from that of tens of thousands of highly-strung young artists only in the degree of ardour with which he pursued his will-o'-the-wisps, and his quite abnormal imprudence in the affairs of daily life—financial affairs in particular. Throughout his career the protection, the solace3, the domestic care of a woman were necessities to him. We may believe him when he says that he was the most home-loving of men; home and a devoted4 woman were haven5 and anchorage for him.[107] His longing6 for this haven would always be increased by the despair into which his vivacious7 nature, so keen for pleasure, was for ever bringing him. His early twenties were undoubtedly8 a very critical time for him mentally and morally. The debt-acquiring habit was already firmly rooted in him, and we get hints here and there of a certain hectic9 quality in his views of sex. In the Autobiographical Sketch10 (1842) he tells us how, under the impulse of these ideas, he dealt with Shakespeare's Measure for Measure in the act of metamorphosing it into his own Das Liebesverbot:
"Everything around me seemed to be in a state of ferment11, and it seemed to me the most natural thing to give myself up to this fermentation. During a lovely summer's journey amongst the Bohemian watering places I drafted the plan of a new opera, Das Liebesverbot; I took the matter for it from Shakespeare's Measure for Measure, only with this difference, that I deprived it of its prevailing12 seriousness and cast it in the mould of Das junge Europa: free and uncloaked [offene] sensualism [Sinnlichkeit] won the victory, purely13 by its own strength, over Puritanical14 hypocrisy15."[108]
In this mood even the froth of the lighter16 French and Italian operas became a pleasure to him:
"The fantastic dissoluteness of German student-life, after some violent excesses (nach heftiger Ausschweifung) had soon become distasteful to me: Woman had begun to be a reality for me.[109] The longing which could nowhere still itself in life found ideal nurture17 in the reading of Heinse's Ardinghello, as also the works of Heine and other members of the then 'Young-German' school of literature. The effect of the impressions thus received found utterance18 in my actual life in the only way in which Nature can express herself under the pressure of the moral bigotry19 of our social system."[110]
His own commentary on the libretto20 of Das Liebesverbot is that it expressed a change in his moral nature of which he was fully21 conscious at the time:
"If one compares this subject with that of Die Feen, it becomes evident that there was a possibility of my developing along two diametrically opposite lines: confronting the religious (heilige) earnestness of my original sensibilities was a pert inclination22 to the wild frothing of the senses (zu wildem sinnlichem Ungestüme), to a defiant23 cheerfulness that seemed utterly24 at variance25 with the earlier mood. This becomes quite obvious to myself when I compare the musical working-out of these two operas.... The music to Das Liebesverbot had played its part in shaping both the matter and the manner; and this music was only the reflex of the influence of modern French and (as concerns the melody) even Italian opera upon my receptive faculties26 in their then state of violent physical excitation."
His libretto and his music were the reflection of his life:
"My path led me first of all straight to frivolity27 in my artistic28 views; this coincides with the epoch29 of my first practical experience as theatrical30 musical director. The rehearsing and conducting of the loose-jointed French operas that were then the mode, the knowingness and smartness (Protzige) of their orchestral effects, often filled me with childish delight when I could set the stuff going right and left from my conductor's desk. In life, which from this time consisted in the motley life of the theatre, I sought in distraction31 the satisfaction of an impulse which showed itself in more immediate32 things as sensualism (Genusssucht), and in music as a flickering33, tingling34 unrest."[111]
Mein Leben shows him as he must have been in the Magdeburg days, ardent35, passionate36, variable, lacking in self-control, eager for the joys of life, and in danger of being sucked down into the maelstrom37 of the minor38 theatrical world. His own version of the outcome of all this—in the Mittheilung an meine Freunde—runs thus:
"The modern retribution for modern levity39, however, soon visited me. I was in love; married in impetuous haste; under the unpleasant impressions of a moneyless home harassed40 myself and others; and so fell into the misery41 whose nature it is to bring thousands upon thousands to the ground."[112]
One may be allowed to surmise42, however, that his marriage was at the time a godsend to him: it probably steadied him at a critical moment and saved him from greater spiritual damage. His picture of Minna as she appeared to him at their first meeting must be given in his own words:
"Her appearance and bearing formed the most striking contrast to all the unpleasant impressions of the theatre which I had received on this fateful morning. The young actress looked very charming and fresh: I was struck by the remarkable43 seemliness (Bemessenheit) and grave assurance of her movements and her behaviour, which lent an agreeable and engaging dignity to the affability of her expression."[113] Her "unaffected sobriety of character and her dainty neatness" did something to reconcile him to the vulgar and superficial theatrical world in which his lot had been cast. She was exceedingly kind to the nervous and maladif young conductor, yet all that she did for him was done "with a friendly calm and composure that had something almost motherly about it, without a suspicion of frivolity or heartlessness."[114]
After a few weeks or months of acquaintance, in which he had showed a decided44 liking45 for her society, Minna begins to be more distant with him—apparently46 because there is a more serious lover in the field. "I now experienced for the first time," he says, "the cares and pains of a lover's jealousy47." For a time they are estranged48; but early in 1835 they return to their former friendly footing. And now we get the first symptom of that egoism in his attitude towards her that was afterwards to be so fruitful in misfortune. Though he was not her accepted lover, he jealously objected to her receiving the attentions of other men—of whom there were plenty always dancing attendance on the pretty, engaging girl. He protests with "bitterness and quarrelsome temper" against her receiving other men's attentions, though he admits that "thanks to her grave and decorous behaviour, her reputation was unimpaired"; and while she remained as calm and sensible as ever, he cubbishly vents49 his rage in pretended dissipation, which had the effect of "filling her with the sincerest pity and anxiety" for him.
He gives a New Year's party to the opera company, which is evidently meant to be a lively affair, and asks Minna to it; everyone doubts whether she will come. She accepts, however, "with perfect ingenuousness50." As the evening wears on and the liquor circulates—punch succeeding champagne—"all the shackles51 of petty conventionality were thrown off," and the conduct of the theatrical ladies and gentlemen drifted into what Wagner calls "universal amiability52." One can imagine the scene.[115] Throughout it all Minna acts with a simplicity53, modesty54 and dignity that win Wagner's praise.
So far she appears much the more decent and likeable human being of the two. Wagner's further account of her increases our respect for her:
"From that time onward55 my relations with Minna were of an intimately friendly kind. I do not believe that she ever felt for me an affection that came near passion—the genuine feeling of love—or indeed that she was capable of such a thing; I can only describe her feeling for me as one of heart-felt good-will, the most fervent56 wish for my success and well-being57, the kindest sympathy and a genuine delight in my gifts, which often filled her with astonishment58. All this became at last part and parcel of her ordinary existence (welches alles ihr endlich zu einer steten und beh?glichen Gewohnheit wurde)."[116]
The fact that, feeling no genuine passion for him, she should have been so kind to him as she was, and should have been willing to unite her life with his, simply increases our respect for her. To her he was simply a young wastrel59 of talent, who needed the care and protection of a sensible woman. She "mothered" him, as other women were destined60 to do in the course of his wild and wasteful61 life.
Then comes the—to Wagner—discreditable episode,[117] too long for narration62 here, that makes them avowed63 lovers. Still there is apparently nothing more on her side than kindliness64 and sympathy, while Wagner is madly in love. He shrinks from marriage in view of the difficulty and uncertainty65 of his position, while Minna too "declared that she was more anxious to see these [their finances] improved than for us to be married." But soon Minna leaves him to join a theatrical company in Berlin. This precipitates66 matters. "In passionate unrest I wrote to her urging her to return, and, in order to move her not to separate her fate from mine, spoke67 formally of an early marriage." He appears also to have threatened, in the same letter, that if she did not return he would "take to drink and go to the devil as rapidly as possible."[118]
He persuades the Magdeburg theatre authorities to renew her engagement, and sets off "in the depth of an awful winter's night" to meet her on her return, greets her "joyously68, with tears from his heart," and leads her back "in triumph to her cosy69 Magdeburg home, that had become so dear to me."[119]
It is evident, however, that in Mein Leben he is not telling the reader the whole of the facts. Certain passages in the contemporary letters to Apel make it clear that in at any rate the latter part of the Magdeburg period he and Minna were husband and wife in everything but legal form. On 27th October 1835 he writes thus to Apel: "Don't get too many fancies in your head with regard to Minna. I leave everything to fate. She loves me,[120] and her love means a great deal to me now: she is now my central point; she gives me consistency70 and warmth: I cannot give her up. I only know that you, dear Theodor, do not yet know the sweetness of such a relationship; it has nothing common, unworthy or enervating71 in it; our epicureanism is pure and strong—not a miserable72 illicit73 liaison;—we love each other, and believe in each other, and the rest we leave to fate;—this you do not know, and only with an actress can one live thus; this superiority to the bourgeoise can only be found where the whole field is fantastic caprice and poetic74 licence."[121]
Das Liebesverbot is given and fails; his career as musical director in Magdeburg is terminated, and hungry creditors75, seeing the end of all his hopes and perhaps theirs, begin legal proceedings76 against him. Every time he came home he found a summons nailed to the door. "And now Minna, with her truly comforting assurance and steadfastness77 in all circumstances, proved the greatest possible support to me."[122] She gets an engagement in K?nigsberg, whither he follows her. Then he begins to doubt her. He is uneasy as to one Schwabe, who is "passionately78 interested" in her. He afterwards learned that the pair had already been friendly; though he adds that he could not regard her relation with Schwabe as an infidelity to himself, since she had rejected the former in his favour. But he was made uneasy by the reflection that the episode had been concealed79 from him, and by the suspicion that Minna's comfortable circumstances were in part due to the friendship of this man. In fact, he, Wagner, the butterfly amorist, was jealous like any common person; and the desire grew upon him to hasten the marriage with Minna in order that he might find peace and quiet—a refuge from the storms of the miserable theatrical world in which his lot had been cast.
In K?nigsberg he obtains an appointment as conductor: and now we behold80 him drifting, like his own gods in the Ring, headlong to destruction. His reason warns him of the folly81 of a union with Minna, but his impulses drive him irresistibly82 into it:
"Minna made no objection, and all my past endeavours and resolutions seemed to show that, for my part, I was anxious for nothing so much as to enter into this haven of rest. Notwithstanding this, strange enough things were going on at this time in my inmost being. I had become sufficiently83 acquainted with Minna's life and character to be able to see, as clearly as this important step required, the great differences between our two natures, if only besides this perception I had had the needed ripeness of mind."[123] But blind lover as he had been, he goes into marriage with his eyes open:
"The peculiar84 power she exercised over me had no source in the ideal side of things, to which I had always been so susceptible85; on the contrary she attracted me by the soberness and solidity of her character, which, in my wide wanderings in search of an ideal goal, gave me the needed support and completion."[124]
Always me! me! me! He used Minna as he used everyone else, as an instrument for his own happiness and comfort. And as he was the more intellectual of the two, and saw clearly the fatal differences of character between them,[125] one can only regard the unfortunate consequences of his marriage as an avengement of his own egoism and jealousy. On her part, though she "made no objection" to the marriage, she was plainly not anxious for it; she never seems to have concealed the fact that her feeling for him was mainly one of sympathy. He learns that her friendship with Schwabe had been more intimate than he had suspected:
"It ended in a very violent scene between us; it established the type of all the later similar scenes. I had gone too far in my outbursts, treating as if I had some real right over her, a woman who was not tied to me by any sort of passionate love, but who had yielded to my importunities only out of kindness, and who, in the deepest sense, did not belong to me at all. To reduce me to utter confusion, Minna had only to remind me that from a worldly point of view she had refused really good offers, and had yielded out of sympathy and devotion to the impetuosity of a penniless and uncomfortable (übel versorgt) man, whose talent had not yet been proved to the satisfaction of the world. I did myself most harm by the raving86 violence of my speech, by which she was so deeply wounded that as soon as I became conscious of my extravagance I always had to appease87 her injured feelings by admitting my injustice88 and begging her forgiveness. So this, like all similar scenes in the future, ended, outwardly, in her favour. But peace was undermined for ever, and by frequent repetition of these affairs, Minna's character underwent a notable change. Just as in later times she was perplexed89 by the (to her) more and more incomprehensible nature of my conception of art and its relationships, which gave her a passionate uncertainty as to her judgments90 upon everything connected with it, so now she became increasingly confused by my opinion—so different to hers—with regard to delicacy91 in moral matters; this confusion—as in general there was so much freedom in my opinions which she could not understand or approve—gave to her easy-going temperament a passionateness92 that was originally foreign to it."[126]
The "delicacy in moral matters" is good. Minna would probably have said that she considered it neither moral nor delicate to run away without paying your tradespeople and to sponge, and make your wife sponge, upon your friends. She was a bourgeoise, but at any rate she had the normal bourgeois1 scrupulosity93 in matters like these, in which Wagner's moral sense was anything but delicate. Posterity94 will refuse to credit him with moral delicacy of any kind. His failings in this respect were a source of sorrow to the friends who loved him most. Cornelius, for example, who adored him, sums him up thus in his Diary under date 3rd February 1863:
"Wagner! That is a leading chapter! Ah! I may not speak at large upon that subject. I say in a word: His morality is weak and without any true basis. His whole course of life, along with his egoistic bent95, has ensnared him in ethical96 labyrinths97. He makes use of people for himself alone, without having any real feeling towards them, without even paying them the tribute of pure piety98. Within himself he has been too much bent on making his mental greatness cover all his moral weaknesses; and I am afraid that posterity will be more critical (die Nachwelt nimmt es genauer)."[127]
Yes, posterity sees the sharp division between the artistic greatness and the moral littleness of the man even more clearly than his contemporaries did; and it has learned to distrust the plausibility99 of his accounts of himself and others, and to distrust them most when they are most plausible100. If only Minna could have survived to read Mein Leben, and to have given her own version of why the pair drifted so widely apart in the Dresden days—why she, who had borne untold101 sufferings for him in Paris, should in the course of four or five years have lost all respect for him and all belief in him!
So the breach102 widened between them. "The really painful feature of our later life together was the fact that owing to this passionateness of hers I lost the last support that Minna's peculiar nature had hitherto afforded me. At the time I was filled only with a dim foreboding of the fateful consequences of my marrying Minna. Her pleasant and soothing103 qualities still had such a salutary effect on me, that with the levity natural to me, as well as the obstinacy104 with which I met all attempts at dissuasion105, I silenced the inner voice that prophesied106 dark disaster."[128]
Who, after that, will lay the blame wholly on Minna? He urges her into a marriage for which she has no great desire, forces her to abandon the career that had maintained her in decent comfort, hitches107 her to his fiery108 and erratic109 chariot and drags her through misery and privation unspeakable, quarrels with her from time to time and insults her with the "raving violence" of his speech.
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1
bourgeois
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| adj./n.追求物质享受的(人)；中产阶级分子 | |
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temperament
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| n.气质，性格，性情 | |
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solace
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| n.安慰；v.使快乐；vt.安慰(物)，缓和 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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haven
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| n.安全的地方，避难所，庇护所 | |
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longing
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| n.（for）渴望 | |
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vivacious
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| adj.活泼的，快活的 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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hectic
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| adj.肺病的；消耗热的；发热的；闹哄哄的 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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ferment
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| vt.使发酵；n./vt.（使）激动，（使）动乱 | |
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prevailing
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| adj.盛行的；占优势的；主要的 | |
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purely
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| adv.纯粹地，完全地 | |
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puritanical
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| adj.极端拘谨的；道德严格的 | |
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hypocrisy
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| n.伪善，虚伪 | |
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16
lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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17
nurture
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| n.养育，照顾，教育；滋养，营养品；vt.养育，给与营养物，教养，扶持 | |
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utterance
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| n.用言语表达，话语，言语 | |
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bigotry
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| n.偏见，偏执，持偏见的行为[态度]等 | |
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libretto
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| n.歌剧剧本，歌曲歌词 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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defiant
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| adj.无礼的，挑战的 | |
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utterly
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| adv.完全地，绝对地 | |
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variance
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| n.矛盾，不同 | |
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faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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frivolity
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| n.轻松的乐事，兴高采烈；轻浮的举止 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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epoch
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| n.(新)时代；历元 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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distraction
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| n.精神涣散，精神不集中，消遣，娱乐 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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flickering
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| adj.闪烁的，摇曳的，一闪一闪的 | |
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tingling
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| v.有刺痛感( tingle的现在分词 ) | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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maelstrom
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| n.大乱动；大漩涡 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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levity
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| n.轻率，轻浮，不稳定，多变 | |
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harassed
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| adj. 疲倦的，厌烦的 动词harass的过去式和过去分词 | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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42
surmise
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| v./n.猜想，推测 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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liking
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| n.爱好；嗜好；喜欢 | |
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46
apparently
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| adv.显然地；表面上，似乎 | |
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jealousy
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| n.妒忌，嫉妒，猜忌 | |
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48
estranged
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| adj.疏远的，分离的 | |
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49
vents
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| （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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50
ingenuousness
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| n.率直；正直；老实 | |
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51
shackles
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| 手铐( shackle的名词复数 )； 脚镣； 束缚； 羁绊 | |
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52
amiability
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| n.和蔼可亲的，亲切的，友善的 | |
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53
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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54
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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55
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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56
fervent
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| adj.热的，热烈的，热情的 | |
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57
well-being
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| n.安康，安乐，幸福 | |
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58
astonishment
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| n.惊奇，惊异 | |
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wastrel
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| n.浪费者；废物 | |
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60
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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61
wasteful
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| adj.（造成）浪费的，挥霍的 | |
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narration
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| n.讲述，叙述；故事；记叙体 | |
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avowed
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| adj.公开声明的，承认的v.公开声明，承认( avow的过去式和过去分词) | |
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kindliness
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| n.厚道，亲切，友好的行为 | |
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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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precipitates
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| v.（突如其来地）使发生( precipitate的第三人称单数 )；促成；猛然摔下；使沉淀 | |
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67
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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joyously
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| ad.快乐地, 高兴地 | |
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cosy
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| adj.温暖而舒适的，安逸的 | |
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consistency
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| n.一贯性，前后一致，稳定性；(液体的)浓度 | |
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enervating
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| v.使衰弱，使失去活力( enervate的现在分词 ) | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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illicit
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| adj.非法的，禁止的，不正当的 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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creditors
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| n.债权人，债主( creditor的名词复数 ) | |
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proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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steadfastness
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| n.坚定，稳当 | |
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passionately
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| ad.热烈地，激烈地 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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behold
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| v.看，注视，看到 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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irresistibly
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| adv.无法抵抗地，不能自持地；极为诱惑人地 | |
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sufficiently
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| adv.足够地，充分地 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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raving
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| adj.说胡话的；疯狂的，怒吼的；非常漂亮的；令人醉心[痴心]的v.胡言乱语(rave的现在分词)n.胡话；疯话adv.胡言乱语地；疯狂地 | |
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appease
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| v.安抚，缓和，平息，满足 | |
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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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perplexed
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| adj.不知所措的 | |
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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passionateness
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scrupulosity
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| n.顾虑 | |
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posterity
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| n.后裔，子孙，后代 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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ethical
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| adj.伦理的，道德的，合乎道德的 | |
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labyrinths
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| 迷宫( labyrinth的名词复数 )； （文字，建筑）错综复杂的 | |
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piety
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| n.虔诚，虔敬 | |
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plausibility
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| n. 似有道理, 能言善辩 | |
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plausible
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| adj.似真实的，似乎有理的，似乎可信的 | |
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untold
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| adj.数不清的，无数的 | |
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breach
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| n.违反，不履行；破裂；vt.冲破，攻破 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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104
obstinacy
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| n.顽固；（病痛等）难治 | |
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dissuasion
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| n.劝止；谏言 | |
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106
prophesied
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| v.预告，预言( prophesy的过去式和过去分词 ) | |
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hitches
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| 暂时的困难或问题( hitch的名词复数 )； 意外障碍； 急拉； 绳套 | |
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108
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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erratic
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| adj.古怪的，反复无常的，不稳定的 | |
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