The Autobiographical Sketch19 which he wrote for Laube's Zeitung für die elegante Welt in 1842, after his settling in Dresden, ends with these words: "As regards Paris itself I was now without prospects20 there for some years: so I left it in the spring of 1842. For the first time I saw the Rhine: with great tears in his eyes the poor artist swore eternal fidelity21 to his German fatherland." It was indeed the prodigal's return: the service that Paris did him was to make him a better German and so a better artist. Seen from a distance, Paris had once glittered before his dazzled eyes as a symbol of liberalism and freedom. Seen at too close quarters, Germany had laid itself bare to him in all its littlenesses, its stuffy22 provinciality23. Now he saw them both from another angle. Paris was about him in all the cold brutality24 it can show to the stranger, the helpless, the penniless: its heart seemed to the eager young musician as hard as the stones of its streets. And he saw his native country as all exiles see theirs, with its asperities25 toned down, its little parochialisms hidden from view, and a certain kindly26 haze27 of idealism over all. It is with German affairs that he occupies himself as far as he can in the articles he writes at this time to keep the domestic pot boiling. The essay On German Music (1840) is very touching28 in its wistful little visions of tiny, cosy29 German towns, each with its circle of humble30 musicians roughly but lovingly wooing their art in their own simple, honest way. The lonely and homesick German artist has his quiet revenge upon Paris in the delightfully31 humorous and satirical article upon the ludicrous French perversion32 of Der Freischütz at the Opéra.[310] Beethoven is much in his mind: he begins the attempt to fathom33 the secret of Beethoven's power, to grasp the profoundly logical workings of his music, and to take his own bearings with regard to sundry34 ?sthetic questions, such as "painting" in music, the reading of poetical35 ideas into purely36 instrumental works, the relations between vocal37 and instrumental music, and so on. His views upon Beethoven were far ahead of those of his contemporaries, to whom, indeed, they must have been in large part unintelligible38. He was beginning to realise dimly that out of the Beethovenian melody he could himself beget39 a new art-work. In A Pilgrimage to Beethoven he puts his own views of opera into the mouth of his predecessor40. He has apparently41 already conceived the idea that instrumental music had come to the end of its resources with Beethoven, that music could in the future renew its vitality42 only by being "fertilised by poetry," and that the ideal music drama will be continuous in tissue. "Were I to make an opera after my own heart," he makes Beethoven say, "people would run away from it: for it would have no arias43, duets, trios, or any of the other stuff with which operas are patched up to-day: and what I would put in the place of these no singer would sing and no audience would listen to. They all know nothing but glittering lies, brilliant nonsense and sugared tedium44. Anyone who should write a real music drama would be taken for a fool." And the old composer proceeds to outline the theory of the relation between words and music that is made so familiar to us in Wagner's later writings. "The instruments represent the primal45 organs of Creation and Nature: what they express can never be clearly defined and settled, for they reproduce the primal feelings themselves as they emerged from the chaos46 of the first creation, when probably there was not one human being to take them up into his heart. It is quite otherwise with the genius of the human voice: this represents man's heart and its definite (abgeschlossen) individual emotion. Its character is therefore restricted, but definite and clear. Now bring these two elements together, unite them! Set against the wild-wandering, illimitable primal feeling, represented by the instruments, the clear definite emotion of the human heart, represented by the voice. The incoming of this second element will smooth and soothe47 the conflict of the primal feelings, will turn their flood into a definite, united course: while the human heart itself, taking up into itself those primal feelings, will be infinitely48 strengthened and expanded, and capable of feeling clearly its earlier indefinite presage49 of the Highest now transformed into god-like consciousness."

点击
收听单词发音

1
miseries
![]() |
|
n.痛苦( misery的名词复数 );痛苦的事;穷困;常发牢骚的人 | |
参考例句: |
|
|
2
penury
![]() |
|
n.贫穷,拮据 | |
参考例句: |
|
|
3
deceptions
![]() |
|
欺骗( deception的名词复数 ); 骗术,诡计 | |
参考例句: |
|
|
4
degradations
![]() |
|
堕落( degradation的名词复数 ); 下降; 陵削; 毁坏 | |
参考例句: |
|
|
5
degradation
![]() |
|
n.降级;低落;退化;陵削;降解;衰变 | |
参考例句: |
|
|
6
temperament
![]() |
|
n.气质,性格,性情 | |
参考例句: |
|
|
7
elastic
![]() |
|
n.橡皮圈,松紧带;adj.有弹性的;灵活的 | |
参考例句: |
|
|
8
amazement
![]() |
|
n.惊奇,惊讶 | |
参考例句: |
|
|
9
faculties
![]() |
|
n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
参考例句: |
|
|
10
rehearsals
![]() |
|
n.练习( rehearsal的名词复数 );排练;复述;重复 | |
参考例句: |
|
|
11
interpretation
![]() |
|
n.解释,说明,描述;艺术处理 | |
参考例句: |
|
|
12
effaced
![]() |
|
v.擦掉( efface的过去式和过去分词 );抹去;超越;使黯然失色 | |
参考例句: |
|
|
13
worthy
![]() |
|
adj.(of)值得的,配得上的;有价值的 | |
参考例句: |
|
|
14
formerly
![]() |
|
adv.从前,以前 | |
参考例句: |
|
|
15
constellations
![]() |
|
n.星座( constellation的名词复数 );一群杰出人物;一系列(相关的想法、事物);一群(相关的人) | |
参考例句: |
|
|
16
aggravated
![]() |
|
使恶化( aggravate的过去式和过去分词 ); 使更严重; 激怒; 使恼火 | |
参考例句: |
|
|
17
numbing
![]() |
|
adj.使麻木的,使失去感觉的v.使麻木,使麻痹( numb的现在分词 ) | |
参考例句: |
|
|
18
remorse
![]() |
|
n.痛恨,悔恨,自责 | |
参考例句: |
|
|
19
sketch
![]() |
|
n.草图;梗概;素描;v.素描;概述 | |
参考例句: |
|
|
20
prospects
![]() |
|
n.希望,前途(恒为复数) | |
参考例句: |
|
|
21
fidelity
![]() |
|
n.忠诚,忠实;精确 | |
参考例句: |
|
|
22
stuffy
![]() |
|
adj.不透气的,闷热的 | |
参考例句: |
|
|
23
provinciality
![]() |
|
n.乡下习气,粗鄙;偏狭 | |
参考例句: |
|
|
24
brutality
![]() |
|
n.野蛮的行为,残忍,野蛮 | |
参考例句: |
|
|
25
asperities
![]() |
|
n.粗暴( asperity的名词复数 );(表面的)粗糙;(环境的)艰苦;严寒的天气 | |
参考例句: |
|
|
26
kindly
![]() |
|
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
参考例句: |
|
|
27
haze
![]() |
|
n.霾,烟雾;懵懂,迷糊;vi.(over)变模糊 | |
参考例句: |
|
|
28
touching
![]() |
|
adj.动人的,使人感伤的 | |
参考例句: |
|
|
29
cosy
![]() |
|
adj.温暖而舒适的,安逸的 | |
参考例句: |
|
|
30
humble
![]() |
|
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
参考例句: |
|
|
31
delightfully
![]() |
|
大喜,欣然 | |
参考例句: |
|
|
32
perversion
![]() |
|
n.曲解;堕落;反常 | |
参考例句: |
|
|
33
fathom
![]() |
|
v.领悟,彻底了解 | |
参考例句: |
|
|
34
sundry
![]() |
|
adj.各式各样的,种种的 | |
参考例句: |
|
|
35
poetical
![]() |
|
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
参考例句: |
|
|
36
purely
![]() |
|
adv.纯粹地,完全地 | |
参考例句: |
|
|
37
vocal
![]() |
|
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
参考例句: |
|
|
38
unintelligible
![]() |
|
adj.无法了解的,难解的,莫明其妙的 | |
参考例句: |
|
|
39
beget
![]() |
|
v.引起;产生 | |
参考例句: |
|
|
40
predecessor
![]() |
|
n.前辈,前任 | |
参考例句: |
|
|
41
apparently
![]() |
|
adv.显然地;表面上,似乎 | |
参考例句: |
|
|
42
vitality
![]() |
|
n.活力,生命力,效力 | |
参考例句: |
|
|
43
arias
![]() |
|
n.咏叹调( aria的名词复数 ) | |
参考例句: |
|
|
44
tedium
![]() |
|
n.单调;烦闷 | |
参考例句: |
|
|
45
primal
![]() |
|
adj.原始的;最重要的 | |
参考例句: |
|
|
46
chaos
![]() |
|
n.混乱,无秩序 | |
参考例句: |
|
|
47
soothe
![]() |
|
v.安慰;使平静;使减轻;缓和;奉承 | |
参考例句: |
|
|
48
infinitely
![]() |
|
adv.无限地,无穷地 | |
参考例句: |
|
|
49
presage
![]() |
|
n.预感,不祥感;v.预示 | |
参考例句: |
|
|
欢迎访问英文小说网 |