part 12

One is sometimes amazed, in reading Opera and Drama, at the persistence¹ with which Wagner pursues the obvious, hunting it down, as Oscar Wilde said of James Payn, with the enthusiasm of a short-sighted detective. He is almost as elaborately absurd over his vowels³ and consonants⁴ as M. Jourdain. The explanation is to be sought partly in the tendency to long-windedness, the passion for pursuing every idea to the death, that was always characteristic of him,—it derived⁶ ultimately from the inexorably logical nature of his mind,—and partly from the fact that he had a very stupid public and a very stupid set of artists to educate. Opera and Drama has been made both more lucid⁷ and somewhat obvious for us to-day by Wagner's own operas. If there is less need to-day to labour certain points as he does, it is because they are now such universally accepted truths that it is hard for us to imagine a time when people needed to have them driven into them at the point of a pen. Here and there his letters give us an inkling of the difficulties with which he had to contend. Few people in the middle of the nineteenth century, apparently⁸, had any idea of real drama in opera.[364] Even the singers,—with the exception of a born genius here and there like Schr?der-Devrient,—had little notion that their parts consisted of anything but so many words to be sung as brilliantly as possible. In one of his letters to Liszt, Wagner describes his horror at seeing, in the Dresden opera house, the Tannh?user, in the "Hall of Song" scene, shouting his declaration of unholy love for Venus straight into the face of the chaste⁹ Elisabeth!—and this in spite of the composer having taken particular care to have all directions copied in full in the separate vocal¹⁰ parts. "What result was possible but that the public should be confused and not know in the least what to make of it? Indeed, I discovered in Dresden that the public became acquainted with the dramatic contents of the opera only by reading the text-book; that is, they only came to understand the performance by abstracting their minds from the actual performance and filling-in from their own imagination."[365] And as he hints, if these things could be done in a first-class opera house like Dresden, what hair-raising horrors must go on in the smaller theatres?

A good deal of Opera and Drama, then, took its rise in the immediate¹¹ circumstances of the German operatic life of the early nineteenth century, and has no particular validity for the world in general to-day.[366] Other portions of it relate only or mainly to the Ring. For all his insistence¹² on the necessity of alliterative verse (Stabreim), he virtually discarded it when he had finished with the Ring. The Meistersingers is written throughout in rhymed verse. In Tristan he employs in turn alliteration¹³, rhyme, and unrhymed verse; Parsifal fluctuates between a sort of vers libre that is often as near as possible to prose, and a rhymed stanza-form for the more pronouncedly lyric¹⁴ portions. Opera and Drama, in fact, was in large part the reduction to theory of the principles of structures that were slowly taking shape within him as he pondered on the Siegfried legend. As with all great artistic¹⁵ creators, each subject was seen so vividly¹⁶, took such complete possession of him, that it unconsciously made for itself its own inevitable¹⁷ form. He himself knew that it was in the Ring that the theories of Opera and Drama had their origin. "Even now," he writes to Uhlig, "must I learn that I should not have discovered the most important conditions for the conformation of the drama of the future had I not, as artist, lighted quite unconsciously upon them in my Siegfried."[367] And working backwards¹⁸, as it were, from the completed work as we have it now, it is easy enough to see how the subject led him of itself to a new theory of opera. He had a gigantic saga²⁰ to condense into the dimensions of a normal stage action; the most drastic economy of words was therefore necessary. As the burden of the emotional expression was to be undertaken by the music, the purely²¹ verbal portion would have to be reduced to the barest essentials consistent with making the conduct of the drama and the motives²² of the characters clear. And as every word had to be vital to the drama, and the musical phrase was to fit the verbal phrase as if the two had been predestined for each other from the beginning of time, each line, short as it might be, had to be packed with accents as salient as those of the music itself. This condition seemed to be most perfectly²³ fulfilled in Stabreim, because there the vowel² or consonant⁵ that gave definition to the word was thrown into the highest possible relief at the very moment of the incidence of the musical accent. The following quotations²⁴ from the Valkyrie will make this clear:

A
scoreap210

Die Betrog'ne lass auch zertreten.
Let them trample²⁵ on the betrayed one.

B
scorebp210

Dass mit Zwang ich halte, was dir nicht haftet.
That by force I hold what denies thee homage²⁶.

C
scorecp210

Wer bist du, sag¹⁹', die so sch?n und ernst mir erscheint?
Who art thou, say, who dost stand so beauteous and stern?

It was therefore, as usual, the musician in him controlling the poet, although he always strenuously²⁷ denied this, and indeed his complaint against the old-time opera was that the poet was held in servitude to the musician. In each case the poet was the serf, but the terms of slavery were different. In the older opera he had to work within the limits of a set scheme that gave him little or no scope for character-drawing or for the natural evolution of a great dramatic action. In the Wagnerian opera the poet was indeed allowed to make his portion of the work worthy²⁸ and consistent, but he was permitted no further scope than was consistent with the necessities of the music. If it be true that Wagner restored the poet to liberty by making the drama the end and the music the means, it was only in the sense that he first of all made the drama of the dimensions and the pattern that music required. Beyond these dimensions, away from that pattern, it could not be allowed to go.

That the musician in Wagner ruled the poet is plain enough to us now, but it was always denied by Wagner himself. In the Communication to my Friends, that elucidates²⁹ so gratefully for us so many dark passages in Opera and Drama, he is persistently³⁰ blind to the fact that is obvious enough to everyone else. As far as Rienzi, he tells us, he had taken his operatic subjects from ready-made stories, while with the Flying Dutchman he struck out a new path, framing his own libretto³¹ out of the simple unpolished outlines of a folk-saga. "Henceforward," he goes on to say, "with regard to all my dramatic works I was in the first instance Poet, and only in the complete working out of the poem did I become once more Musician. Only," he rather na?vely continues, "I was a poet who was conscious in advance of the power of musical expression for the working out of his poems."[368] Quite so: when a subject took possession of him he would see it all in terms of musical expression and development; and unconsciously the poem would be so planned as to provide the needful framework, and no more, for the musical emotion. Later on, after arguing that music is the emotional expression per se, but that it can only ally itself with words that contain the possibility of emotion, he once more lets us see that it was the musician in him that determined³² his choice of subject and the manner of its treatment. "What I perceived, I now looked at solely³³ with the eyes of music [nur aus dem Geiste der Musik]; though not," he rightly points out, "that music whose formal rules might still have embarrassed my expression, but the music that was complete within me, and in which I could express myself as in a mother tongue."[369] Granting that the musical world from the centre of which he wished to pour himself out upon poetry was not that of the stereotyped³⁴ operatic composer, the fact remains³⁵ that it was from the centre of music itself that the outpouring was to come. And we may further grant that "it was precisely³⁶ by the facility of musical expression" he had acquired that "he became a poet." What had happened in the interval³⁷ between Rienzi and the Flying Dutchman, and still more in the interval between the Flying Dutchman and the Ring, was that his musical sense had so enormously expanded that it was now capable of weaving a continuous emotional tissue of its own,—a tissue, however, that required the framework of poetry to make it definite. He was right; it was of the musician in him that the poet was born. And it was the musician insisting on the dramatic "stuff" being reduced to its pure essentials that led him to reject the wide-spreading romance and history, and to seize upon the myth, in which a human content was presented in the simplest possible form.

1 persistence   

n.坚持，持续，存留

参考例句：

• The persistence of a cough in his daughter puzzled him.他女儿持续的咳嗽把他难住了。
• He achieved success through dogged persistence.他靠着坚持不懈取得了成功。

2 vowel   

n.元音；元音字母

参考例句：

• A long vowel is a long sound as in the word"shoe ".长元音即如“shoe” 一词中的长音。
• The vowel in words like 'my' and 'thigh' is not very difficult.单词my和thigh中的元音并不难发。

3 vowels   

n.元音，元音字母( vowel的名词复数 )

参考例句：

• Vowels possess greater sonority than consonants. 元音比辅音响亮。 来自《现代英汉综合大词典》
• Note the various sounds of vowels followed by r. 注意r跟随的各种元音的发音。 来自超越目标英语 第3册

4 consonants   

n.辅音，子音( consonant的名词复数 )；辅音字母

参考例句：

• Consonants are frequently assimilated to neighboring consonants. 辅音往往被其邻近的辅音同化。 来自《简明英汉词典》
• Vowels possess greater sonority than consonants. 元音比辅音响亮。 来自《现代英汉综合大词典》

5 consonant   

n.辅音；adj.[音]符合的

参考例句：

• The quality of this suit isn't quite consonant with its price.这套衣服的质量和价钱不相称。
• These are common consonant clusters at the beginning of words.这些单词的开头有相同辅音组合。

6 derived   

vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取

参考例句：

• Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
• He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》

7 lucid   

adj.明白易懂的，清晰的，头脑清楚的

参考例句：

• His explanation was lucid and to the point.他的解释扼要易懂。
• He wasn't very lucid,he didn't quite know where he was.他神志不是很清醒，不太知道自己在哪里。

8 apparently   

adv.显然地；表面上，似乎

参考例句：

• An apparently blind alley leads suddenly into an open space.山穷水尽，豁然开朗。
• He was apparently much surprised at the news.他对那个消息显然感到十分惊异。

9 chaste   

adj.贞洁的；有道德的；善良的；简朴的

参考例句：

• Comparatively speaking,I like chaste poetry better.相比较而言，我更喜欢朴实无华的诗。
• Tess was a chaste young girl.苔丝是一个善良的少女。

10 vocal   

adj.直言不讳的；嗓音的；n.[pl.]声乐节目

参考例句：

• The tongue is a vocal organ.舌头是一个发音器官。
• Public opinion at last became vocal.终于舆论哗然。

11 immediate   

adj.立即的；直接的，最接近的；紧靠的

参考例句：

• His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
• We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。

12 insistence   

n.坚持；强调；坚决主张

参考例句：

• They were united in their insistence that she should go to college.他们一致坚持她应上大学。
• His insistence upon strict obedience is correct.他坚持绝对服从是对的。

13 alliteration   

n.（诗歌的）头韵

参考例句：

• We chose alliteration on the theory a little vulgarity enhances memory.在理论上我们选择有点儿粗俗的头韵来帮助记忆。
• It'seems to me that in prose alliteration should be used only for a special reason.依我看，在散文里，头韵只能在一定的场合使用。

14 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

• This is a good example of Shelley's lyric poetry.这首诗是雪莱抒情诗的范例。
• His earlier work announced a lyric talent of the first order.他的早期作品显露了一流的抒情才华。

15 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

16 vividly   

adv.清楚地，鲜明地，生动地

参考例句：

• The speaker pictured the suffering of the poor vividly.演讲者很生动地描述了穷人的生活。
• The characters in the book are vividly presented.这本书里的人物写得栩栩如生。

17 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

18 backwards   

adv.往回地，向原处，倒，相反，前后倒置地

参考例句：

• He turned on the light and began to pace backwards and forwards.他打开电灯并开始走来走去。
• All the girls fell over backwards to get the party ready.姑娘们迫不及待地为聚会做准备。

19 sag   

v.下垂，下跌，消沉；n.下垂，下跌，凹陷，[航海]随风漂流

参考例句：

• The shelf was beginning to sag beneath the weight of the books upon it.书架在书的重压下渐渐下弯。
• We need to do something about the sag.我们须把下沉的地方修整一下。

20 saga   

n.(尤指中世纪北欧海盗的)故事，英雄传奇

参考例句：

• The saga of Flight 19 is probably the most repeated story about the Bermuda Triangle.飞行19中队的传说或许是有关百慕大三角最重复的故事。
• The novel depicts the saga of a family.小说描绘了一个家族的传奇故事。

21 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

22 motives   

n.动机，目的( motive的名词复数 )

参考例句：

• to impeach sb's motives 怀疑某人的动机
• His motives are unclear. 他的用意不明。

23 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

24 quotations   

n.引用( quotation的名词复数 )；[商业]行情（报告）；（货物或股票的）市价；时价

参考例句：

• The insurance company requires three quotations for repairs to the car. 保险公司要修理这辆汽车的三家修理厂的报价单。 来自《简明英汉词典》
• These quotations cannot readily be traced to their sources. 这些引语很难查出出自何处。 来自《现代汉英综合大词典》

25 trample   

vt.踩，践踏；无视，伤害，侵犯

参考例句：

• Don't trample on the grass. 勿踏草地。
• Don't trample on the flowers when you play in the garden. 在花园里玩耍时,不要踩坏花。

26 homage   

n.尊敬，敬意，崇敬

参考例句：

• We pay homage to the genius of Shakespeare.我们对莎士比亚的天才表示敬仰。
• The soldiers swore to pay their homage to the Queen.士兵们宣誓效忠于女王陛下。

27 strenuously   

adv.奋发地，费力地

参考例句：

• The company has strenuously defended its decision to reduce the workforce. 公司竭力为其裁员的决定辩护。
• She denied the accusation with some warmth, ie strenuously, forcefully. 她有些激动，竭力否认这一指责。

28 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。

29 elucidates   

v.阐明，解释( elucidate的第三人称单数 )

参考例句：

• Part Two: This section elucidates the connotation operative ability in geography. 第二部分，阐述了地理实践能力内涵。 来自互联网
• This review mostly elucidates advances in medication of primary osteoporosis. 在此主要介绍原发性骨质疏松症的药物治疗进展。 来自互联网

30 persistently   

ad.坚持地；固执地

参考例句：

• He persistently asserted his right to a share in the heritage. 他始终声称他有分享那笔遗产的权利。
• She persistently asserted her opinions. 她果断地说出了自己的意见。

31 libretto   

n.歌剧剧本，歌曲歌词

参考例句：

• The printed libretto was handsomely got up.这本印刷的歌剧剧本装帧得很美观。
• On the other hand,perhaps there is something to be said for the convenience of downloading a libretto in one's own home rather than looking for it in a library or book store.但是反过来看，或许尤为重要的是如果网

32 determined   

adj.坚定的；有决心的

参考例句：

• I have determined on going to Tibet after graduation.我已决定毕业后去西藏。
• He determined to view the rooms behind the office.他决定查看一下办公室后面的房间。

33 solely   

adv.仅仅，唯一地

参考例句：

• Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
• The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。

34 stereotyped   

adj.(指形象、思想、人物等)模式化的

参考例句：

• There is a sameness about all these tales. They're so stereotyped -- all about talented scholars and lovely ladies. 这些书就是一套子，左不过是些才子佳人，最没趣儿。
• He is the stereotyped monster of the horror films and the adventure books, and an obvious (though not perhaps strictly scientific) link with our ancestral past. 它们是恐怖电影和惊险小说中的老一套的怪物，并且与我们的祖先有着明显的（虽然可能没有科学的）联系。

35 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

36 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

• It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
• The man adjusted very precisely.那个人调得很准。

37 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。