part 13

The musician, then, being at the basis of all his ?sthetics, all his theories of opera and drama, the question arises, what sort of a musician was he? He was the spiritual son of Beethoven; a remoter ancestor was Bach. This is the cardinal¹ fact in the psychology² of Wagner; and it will need to be examined in all its bearings.

Wagner was one of those dynamically charged personalities³ after whose passing the world can never be the same as it was before he came—one of the tiny group of men to whom it is given to bestride an old world and a new, but to sunder⁴ them by a gulf⁵ that becomes ever more and more impassable; one of the very few who are able so to fill the veins⁶ of a whole civilisation⁷ with a new principle of vitality⁸ that the tingle⁹ of it is felt not only by the rarer but by the commonest spirits—some new principle from which, whether a man likes it or not, he will find it impossible to escape. Wagner is probably the only figure in the whole history of music of whom this can be said. Bach created no such upheaval¹⁰. He counts for next to nothing in the music of his own day and that of the two generations that followed him. He did not make a new world in music: rather had a new world to be made before men's eyes were competent to take the measure of that towering stature¹¹, or men's hearts quick enough with life to respond to the profound humanism of that great soul. We were not fit for Bach until Beethoven and Wagner—and Wagner, perhaps, even more than Beethoven—made us so. Beethoven, again, had it not been for Wagner, would probably not have meant as much to us as he does now, or become the fertilising force he is in modern music; and even that fertilisation is effected through Wagner's work rather than along lines in continuation of Beethoven's own. If anyone doubts this, let him ask himself what new spirit of enduring vitality and power of propagation has come out of the classical symphony pure and simple. Not Brahms, assuredly, great as he is: "arrested development" is written large upon the forms and the ideas of all the music that has come out of Brahms's symphonies as clearly as upon those symphonies themselves. So far as modern instrumental music has developed in humanity of utterance¹² or in breadth of structure, it is from assimilating from Beethoven, through Wagner, just the urgent poetic¹³ spirit that Brahms passed by in Beethoven,—the spirit of which Beethoven was himself only dimly conscious, but which Wagner from the beginning saw to be inherent in him, and which he distilled¹⁴ from the general tissue of Beethoven's work and used in a new form for magical results of his own. The only explosive force in music at all comparable in general to Wagner was Monteverdi. But Monteverdi came a couple of hundred years too soon. The world was not ready for him—it is hardly a paradox¹⁵ to say that he was not ready for himself—and his explosion mostly spent itself in a desert. Wagner had first-rate luck in this as in everything else in his life that really mattered to him as an artist; not only had he the right dynamic spark within him, but he was born into an atmosphere made electrically ready by the passionate¹⁶ soul's cry of Beethoven. The explosion came—a cataclysmic upheaval, leading to a new geological formation, as it were, in music, new geographical¹⁷ delimitations, a new fauna¹⁸ and flora¹⁹.

He had access to Beethoven's heart: and from the blood in Beethoven's veins he won the strength both for his own new expression and his new freedom of form. It is one of the things we should be constantly thanking Providence²⁰ for that the natural man in him insisted on making its own world in its own way. Busoni, in his suggestive Entwurf einer neuen Aesthetik der Tonkunst, has remarked upon the curious formalism of most music, even the greatest. Here is an art fortunate enough to be free from all material factors: it is, as Busoni says, simply "sounding air," and is therefore presumably capable of a freedom of handling that should be the despair of workers in the other arts. Perfect freedom has yet to come; looked at from the heights, even giants like Bach and Beethoven and Mozart are seen to be loaded with chains of their own and their fellows' forging, and to be performing the same timid evolutions again and again in one small corner of a field, while glorious leagues of unexplored country unroll themselves all around them. Bach and Beethoven enriched music by a sort of intensive culture of an inherited estate. Wagner was really the first to leap the fences and break down the gates and send his ploughshare deep into the bowels²¹ of a new earth. Almost from his earliest years he had an instinctive²² sense of the great force of emotional liberation that was struggling for an outlet²³ in Beethoven's music. He was probably the only man in Europe to be aware of it and its tremendous significance for the future. There were plenty of men who felt the greatness of Beethoven; but not one of them, apparently²⁴, saw him as Wagner did. It is evident that people like Mendelssohn and Robert and Clara Schumann, for example, with whom he talked much in the 'forties, had no inkling that out of the spume of this eager, restless mind the future of music was to be born. To them his far-darting talk about Beethoven was apparently no more than the interesting speculations²⁵ of a clever but slightly eccentric visionary. From the first he fastened upon the seminal²⁶ essence of Beethoven's later work—the attempt of a great soul, hampered²⁷ somewhat by a transmitted form, to pour out an endless fund of quasi-dramatic emotion in music. The problem that lay before Wagner was how to release this fund of emotion, to give it wings that would carry it over the whole field of human life, to give it a new and more wonderful articulation²⁸. After years of struggling he found his way to the light. It was one of the extremely lucky "throws" of nature—a throw she will probably not achieve again for generations—that within the musician who had this unique vision of a music infinitely²⁹ human and perfectly³⁰ free there was a dramatist capable of providing the definite framework upon which the indefinite musical emotion could be woven into firm, coherent shapes. His theory that purely³¹ instrumental music had shot its last bolt with Beethoven, and that the choral ending to the Ninth Symphony is the unconscious, instinctive cry of the musician for the redemption of music by poetry, is the soundest of ?sthetics if we do not take it too literally³². Music did need this fertilisation by poetry if it was to win a new procreative power. Agreeable music has been made, and will continue to be made, by the passionless, disinterested³³ weaving for its own sake of beautiful strands³⁴ of tone. But great music must go deeper than this, and the deeper it goes the closer it comes to the heart; and our name for the necessities of the heart is poetry.

1 cardinal   

n.(天主教的)红衣主教；adj.首要的，基本的

参考例句：

• This is a matter of cardinal significance.这是非常重要的事。
• The Cardinal coloured with vexation. 红衣主教感到恼火，脸涨得通红。

2 psychology   

n.心理，心理学，心理状态

参考例句：

• She has a background in child psychology.她受过儿童心理学的教育。
• He studied philosophy and psychology at Cambridge.他在剑桥大学学习哲学和心理学。

3 personalities   

n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 )

参考例句：

• There seemed to be a degree of personalities in her remarks.她话里有些人身攻击的成分。
• Personalities are not in good taste in general conversation.在一般的谈话中诽谤他人是不高尚的。

4 sunder   

v.分开；隔离；n.分离，分开

参考例句：

• Lightning tore the tree in sunder.闪电把树劈成两半。
• Nothing can sunder our friendship.什么也不能破坏我们的友谊。

5 gulf   

n.海湾；深渊，鸿沟；分歧，隔阂

参考例句：

• The gulf between the two leaders cannot be bridged.两位领导人之间的鸿沟难以跨越。
• There is a gulf between the two cities.这两座城市间有个海湾。

6 veins   

n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理

参考例句：

• The blood flows from the capillaries back into the veins. 血从毛细血管流回静脉。 来自《简明英汉词典》
• I felt a pleasant glow in all my veins from the wine. 喝过酒后我浑身的血都热烘烘的，感到很舒服。 来自《简明英汉词典》

7 civilisation   

n.文明，文化，开化，教化

参考例句：

• Energy and ideas are the twin bases of our civilisation.能源和思想是我们文明的两大基石。
• This opera is one of the cultural totems of Western civilisation.这部歌剧是西方文明的文化标志物之一。

8 vitality   

n.活力，生命力，效力

参考例句：

• He came back from his holiday bursting with vitality and good health.他度假归来之后，身强体壮，充满活力。
• He is an ambitious young man full of enthusiasm and vitality.他是个充满热情与活力的有远大抱负的青年。

9 tingle   

vi.感到刺痛，感到激动；n.刺痛，激动

参考例句：

• The music made my blood tingle.那音乐使我热血沸腾。
• The cold caused a tingle in my fingers.严寒使我的手指有刺痛感。

10 upheaval   

n.胀起，(地壳)的隆起；剧变，动乱

参考例句：

• It was faced with the greatest social upheaval since World War Ⅱ.它面临第二次世界大战以来最大的社会动乱。
• The country has been thrown into an upheaval.这个国家已经陷入动乱之中。

11 stature   

n.（高度）水平，（高度）境界，身高，身材

参考例句：

• He is five feet five inches in stature.他身高5英尺5英寸。
• The dress models are tall of stature.时装模特儿的身材都较高。

12 utterance   

n.用言语表达，话语，言语

参考例句：

• This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
• My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽，泣不成声。

13 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

• His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
• His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。

14 distilled   

adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 )；从…提取精华

参考例句：

• The televised interview was distilled from 16 hours of film. 那次电视采访是从16个小时的影片中选出的精华。 来自《简明英汉词典》
• Gasoline is distilled from crude oil. 汽油是从原油中提炼出来的。 来自《简明英汉词典》

15 paradox   

n.似乎矛盾却正确的说法；自相矛盾的人(物)

参考例句：

• The story contains many levels of paradox.这个故事存在多重悖论。
• The paradox is that Japan does need serious education reform.矛盾的地方是日本确实需要教育改革。

16 passionate   

adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的

参考例句：

• He is said to be the most passionate man.据说他是最有激情的人。
• He is very passionate about the project.他对那个项目非常热心。

17 geographical   

adj.地理的；地区(性)的

参考例句：

• The current survey will have a wider geographical spread.当前的调查将在更广泛的地域范围內进行。
• These birds have a wide geographical distribution.这些鸟的地理分布很广。

18 fauna   

n.(一个地区或时代的)所有动物，动物区系

参考例句：

• This National Park is an area with unique fauna and flora.该国家公园区域内具有独特的动物种群和植物种群。
• Fauna is a biological notion means all the animal life in a particular region or period. 动物群是一个生物学的概念，指的是一个特定时期或者地区的所有动物。

19 flora   

n.(某一地区的)植物群

参考例句：

• The subtropical island has a remarkably rich native flora.这个亚热带岛屿有相当丰富的乡土植物种类。
• All flora need water and light.一切草木都需要水和阳光。

20 providence   

n.深谋远虑，天道，天意；远见；节约；上帝

参考例句：

• It is tempting Providence to go in that old boat.乘那艘旧船前往是冒大险。
• To act as you have done is to fly in the face of Providence.照你的所作所为那样去行事，是违背上帝的意志的。

21 bowels   

n.肠，内脏，内部；肠( bowel的名词复数 )；内部，最深处

参考例句：

• Salts is a medicine that causes movements of the bowels. 泻盐是一种促使肠子运动的药物。 来自《简明英汉词典》
• The cabins are in the bowels of the ship. 舱房设在船腹内。 来自《简明英汉词典》

22 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

• He tried to conceal his instinctive revulsion at the idea.他试图饰盖自己对这一想法本能的厌恶。
• Animals have an instinctive fear of fire.动物本能地怕火。

23 outlet   

n.出口/路；销路；批发商店；通风口；发泄

参考例句：

• The outlet of a water pipe was blocked.水管的出水口堵住了。
• Running is a good outlet for his energy.跑步是他发泄过剩精力的好方法。

24 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。

25 speculations   

n.投机买卖( speculation的名词复数 )；思考；投机活动；推断

参考例句：

• Your speculations were all quite close to the truth. 你的揣测都很接近于事实。 来自《现代英汉综合大词典》
• This possibility gives rise to interesting speculations. 这种可能性引起了有趣的推测。 来自《用法词典》

26 seminal   

adj.影响深远的；种子的

参考例句：

• The reforms have been a seminal event in the history of the NHS.这些改革已成为英国国民保健制度史上影响深远的一件大事。
• The emperor's importance as a seminal figure of history won't be diminished.做为一个开创性历史人物的重要性是不会减弱的。

27 hampered   

妨碍，束缚，限制( hamper的过去式和过去分词 )

参考例句：

• The search was hampered by appalling weather conditions. 恶劣的天气妨碍了搜寻工作。
• So thought every harassed, hampered, respectable boy in St. Petersburg. 圣彼德堡镇的那些受折磨、受拘束的体面孩子们个个都是这么想的。

28 articulation   

n.（清楚的）发音；清晰度，咬合

参考例句：

• His articulation is poor.他发音不清楚。
• She spoke with a lazy articulation.她说话慢吞吞的。

29 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

30 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。

31 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。

32 literally   

adv.照字面意义，逐字地；确实

参考例句：

• He translated the passage literally.他逐字逐句地翻译这段文字。
• Sometimes she would not sit down till she was literally faint.有时候，她不走到真正要昏厥了，决不肯坐下来。

33 disinterested   

adj.不关心的，不感兴趣的

参考例句：

• He is impartial and disinterested.他公正无私。
• He's always on the make,I have never known him do a disinterested action.他这个人一贯都是唯利是图，我从来不知道他有什么无私的行动。

34 strands   

n.（线、绳、金属线、毛发等的）股( strand的名词复数 )；缕；海洋、湖或河的)岸；（观点、计划、故事等的）部份v.使滞留，使搁浅( strand的第三人称单数 )

参考例句：

• Twist a length of rope from strands of hemp. 用几股麻搓成了一段绳子。 来自《简明英汉词典》
• She laced strands into a braid. 她把几股线编织成一根穗带。 来自《简明英汉词典》