The listener, who insists on distinctly hearing the words under the music, has his wishes met by the singer in that he speaks rather than sings, and intensifies12 the pathetic expression of the words in this half-song: by this intensification13 of the pathos14 he facilitates the understanding of the words and surmounts15 the remaining half of the music. The specific danger which now threatens him is that in some unguarded moment he may give undue16 importance to music, which would forthwith result in the destruction of the pathos of the speech and the distinctness of the words: while, on the other hand, he always feels himself impelled18 to musical delivery and to virtuose exhibition of vocal19 talent. Here the "poet" comes to his aid, who knows how to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places the singer, now in the purely21 musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and wholly sung interjections, which is characteristic of the stilo rappresentativo, this rapidly changing endeavour to operate now on the conceptional and representative faculty22 of the hearer, now on his musical sense, is something so thoroughly unnatural23 and withal so intrinsically contradictory24 both to the Apollonian and Dionysian artistic impulses, that one has to infer an origin of the recitative foreign to all artistic instincts. The[Pg 144] recitative must be defined, according to this description, as the combination of epic25 and lyric20 delivery, not indeed as an intrinsically stable combination which could not be attained26 in the case of such totally disparate elements, but an entirely27 superficial mosaic28 conglutination, such as is totally unprecedented29 in the domain30 of nature and experience. But this was not the opinion of the inventors of the recitative: they themselves, and their age with them, believed rather that the mystery of antique music had been solved by this stilo rappresentativo, in which, as they thought, the only explanation of the enormous influence of an Orpheus, an Amphion, and even of Greek tragedy was to be found. The new style was regarded by them as the re-awakening31 of the most effective music, the Old Greek music: indeed, with the universal and popular conception of the Homeric world as the primitive32 world, they could abandon themselves to the dream of having descended33 once more into the paradisiac beginnings of mankind, wherein music also must needs have had the unsurpassed purity, power, and innocence34 of which the poets could give such touching35 accounts in their pastoral plays. Here we see into the internal process of development of this thoroughly modern variety of art, the opera: a powerful need here acquires an art, but it is a need of an un?sthetic kind: the yearning36 for the idyll, the belief in the prehistoric37 existence of the artistic, good man. The recitative was regarded as the rediscovered language of this primitive man; the opera as the recovered land of this[Pg 145] idyllically38 or heroically good creature, who in every action follows at the same time a natural artistic impulse, who sings a little along with all he has to say, in order to sing immediately with full voice on the slightest emotional excitement. It is now a matter of indifference40 to us that the humanists of those days combated the old ecclesiastical representation of man as naturally corrupt41 and lost, with this new-created picture of the paradisiac artist: so that opera may be understood as the oppositional42 dogma of the good man, whereby however a solace43 was at the same time found for the pessimism44 to which precisely45 the seriously-disposed men of that time were most strongly incited46, owing to the frightful47 uncertainty48 of all conditions of life. It is enough to have perceived that the intrinsic charm, and therefore the genesis, of this new form of art lies in the gratification of an altogether un?sthetic need, in the optimistic glorification49 of man as such, in the conception of the primitive man as the man naturally good and artistic: a principle of the opera which has gradually changed into a threatening and terrible demand, which, in face of the socialistic movements of the present time, we can no longer ignore. The "good primitive man" wants his rights: what paradisiac prospects51!
I here place by way of parallel still another equally obvious confirmation52 of my view that opera is built up on the same principles as our Alexandrine culture. Opera is the birth of the theoretical man, of the critical layman53, not of the artist: one of the most surprising facts in the[Pg 146] whole history of art. It was the demand of thoroughly unmusical hearers that the words must above all be understood, so that according to them a re-birth of music is only to be expected when some mode of singing has been discovered in which the text-word lords over the counterpoint as the master over the servant. For the words, it is argued, are as much nobler than the accompanying harmonic system as the soul is nobler than the body. It was in accordance with the laically unmusical crudeness of these views that the combination of music, picture and expression was effected in the beginnings of the opera: in the spirit of this ?sthetics the first experiments were also made in the leading laic circles of Florence by the poets and singers patronised there. The man incapable of art creates for himself a species of art precisely because he is the inartistic man as such. Because he does not divine the Dionysian depth of music, he changes his musical taste into appreciation54 of the understandable word-and-tone-rhetoric of the passions in the stilo rappresentativo, and into the voluptuousness56 of the arts of song; because he is unable to behold57 a vision, he forces the machinist and the decorative58 artist into his service; because he cannot apprehend59 the true nature of the artist, he conjures60 up the "artistic primitive man" to suit his taste, that is, the man who sings and recites verses under the influence of passion. He dreams himself into a time when passion suffices to generate songs and poems: as if emotion had ever been able to create anything artistic. The postulate61 of the opera is a false[Pg 147] belief concerning the artistic process, in fact, the idyllic39 belief that every sentient62 man is an artist. In the sense of this belief, opera is the expression of the taste of the laity63 in art, who dictate64 their laws with the cheerful optimism of the theorist.
Should we desire to unite in one the two conceptions just set forth17 as influential65 in the origin of opera, it would only remain for us to speak of an idyllic tendency of the opera: in which connection we may avail ourselves exclusively of the phraseology and illustration of Schiller.[22] "Nature and the ideal," he says, "are either objects of grief, when the former is represented as lost, the latter unattained; or both are objects of joy, in that they are represented as real. The first case furnishes the elegy66 in its narrower signification, the second the idyll in its widest sense." Here we must at once call attention to the common characteristic of these two conceptions in operatic genesis, namely, that in them the ideal is not regarded as unattained or nature as lost Agreeably to this sentiment, there was a primitive age of man when he lay close to the heart of nature, and, owing to this naturalness, had attained the ideal of mankind in a paradisiac goodness and artist-organisation: from which perfect primitive man all of us were supposed to be descended; whose faithful copy we were in fact still said to be: only we had to cast off some few things in order to recognise ourselves once more as this primitive man, on the strength of a voluntary renunciation of superfluous67 learnedness, of super-abundant[Pg 148] culture. It was to such a concord68 of nature and the ideal, to an idyllic reality, that the cultured man of the Renaissance69 suffered himself to be led back by his operatic imitation of Greek tragedy; he made use of this tragedy, as Dante made use of Vergil, in order to be led up to the gates of paradise: while from this point he went on without assistance and passed over from an imitation of the highest form of Greek art to a "restoration of all things," to an imitation of man's original art-world. What delightfully70 na?ve hopefulness of these daring endeavours, in the very heart of theoretical culture!—solely71 to be explained by the comforting belief, that "man-in-himself" is the eternally virtuous72 hero of the opera, the eternally fluting73 or singing shepherd, who must always in the end rediscover himself as such, if he has at any time really lost himself; solely the fruit of the optimism, which here rises like a sweetishly seductive column of vapour out of the depth of the Socratic conception of the world.
The features of the opera therefore do not by any means exhibit the elegiac sorrow of an eternal loss, but rather the cheerfulness of eternal rediscovery, the indolent delight in an idyllic reality which one can at least represent to one's self each moment as real: and in so doing one will perhaps surmise74 some day that this supposed reality is nothing but a fantastically silly dawdling75, concerning which every one, who could judge it by the terrible earnestness of true nature and compare it with the actual primitive scenes of the beginnings of mankind, would have to call out with loathing76: Away with[Pg 149] the phantom77! Nevertheless one would err50 if one thought it possible to frighten away merely by a vigorous shout such a dawdling thing as the opera, as if it were a spectre. He who would destroy the opera must join issue with Alexandrine cheerfulness, which expresses itself so na?vely therein concerning its favourite representation; of which in fact it is the specific form of art. But what is to be expected for art itself from the operation of a form of art, the beginnings of which do not at all lie in the ?sthetic province; which has rather stolen over from a half-moral sphere into the artistic domain, and has been able only now and then to delude78 us concerning this hybrid79 origin? By what sap is this parasitic80 opera-concern nourished, if not by that of true art? Must we not suppose that the highest and indeed the truly serious task of art—to free the eye from its glance into the horrors of night and to deliver the "subject" by the healing balm of appearance from the spasms81 of volitional82 agitations—will degenerate83 under the influence of its idyllic seductions and Alexandrine adulation to an empty dissipating tendency, to pastime? What will become of the eternal truths of the Dionysian and Apollonian in such an amalgamation84 of styles as I have exhibited in the character of the stilo rappresentativo? where music is regarded as the servant, the text as the master, where music is compared with the body, the text with the soul? where at best the highest aim will be the realisation of a paraphrastic85 tone-painting, just as formerly86 in the New Attic87 Dithyramb? where music is[Pg 150] completely alienated88 from its true dignity of being, the Dionysian mirror of the world, so that the only thing left to it is, as a slave of phenomena89, to imitate the formal character thereof, and to excite an external pleasure in the play of lines and proportions. On close observation, this fatal influence of the opera on music is seen to coincide absolutely with the universal development of modern music; the optimism lurking90 in the genesis of the opera and in the essence of culture represented thereby91, has, with alarming rapidity, succeeded in divesting92 music of its Dionyso-cosmic mission and in impressing on it a playfully formal and pleasurable character: a change with which perhaps only the metamorphosis of the ?schylean man into the cheerful Alexandrine man could be compared.
If, however, in the exemplification herewith indicated we have rightly associated the evanescence of the Dionysian spirit with a most striking, but hitherto unexplained transformation93 and degeneration of the Hellene—what hopes must revive in us when the most trustworthy auspices94 guarantee the reverse process, the gradual awakening of the Dionysian spirit in our modern world! It is impossible for the divine strength of Herakles to languish95 for ever in voluptuous55 bondage96 to Omphale. Out of the Dionysian root of the German spirit a power has arisen which has nothing in common with the primitive conditions of Socratic culture, and can neither be explained nor excused thereby, but is rather regarded by this culture as something terribly inexplicable97 and overwhelmingly hostile,mdash;namely, German music as we have to understand[Pg 151] it, especially in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the most favourable98 circumstances can the knowledge-craving Socratism of our days do with this demon99 rising from unfathomable depths? Neither by means of the zig-zag and arabesque100 work of operatic melody, nor with the aid of the arithmetical counting board of fugue and contrapuntal dialectics is the formula to be found, in the trebly powerful light[23] of which one could subdue101 this demon and compel it to speak. What a spectacle, when our ?sthetes, with a net of "beauty" peculiar102 to themselves, now pursue and clutch at the genius of music romping104 about before them with incomprehensible life, and in so doing display activities which are not to be judged by the standard of eternal beauty any more than by the standard of the sublime. Let us but observe these patrons of music as they are, at close range, when they call out so indefatigably105 "beauty! beauty!" to discover whether they have the marks of nature's darling children who are fostered and fondled in the lap of the beautiful, or whether they do not rather seek a disguise for their own rudeness, an ?sthetical pretext106 for their own unemotional insipidity107: I am thinking here, for instance, of Otto Jahn. But let the liar103 and the hypocrite beware of our German music: for in the midst of all our culture it is really the only genuine, pure and purifying fire-spirit from which and towards which, as in the teaching of the great[Pg 152] Heraclitus of Ephesus, all things move in a double orbit-all that we now call culture, education, civilisation108, must appear some day before the unerring judge, Dionysus.
Let us recollect109 furthermore how Kant and Schopenhauer made it possible for the spirit of German philosophy streaming from the same sources to annihilate110 the satisfied delight in existence of scientific Socratism by the delimitation of the boundaries thereof; how through this delimitation an infinitely111 profounder and more serious view of ethical112 problems and of art was inaugurated, which we may unhesitatingly designate as Dionysian wisdom comprised in concepts. To what then does the mystery of this oneness of German music and philosophy point, if not to a new form of existence, concerning the substance of which we can only inform ourselves presentiently from Hellenic analogies? For to us who stand on the boundary line between two different forms of existence, the Hellenic prototype retains the immeasurable value, that therein all these transitions and struggles are imprinted113 in a classically instructive form: except that we, as it were, experience analogically in reverse order the chief epochs of the Hellenic genius, and seem now, for instance, to pass backwards114 from the Alexandrine age to the period of tragedy. At the same time we have the feeling that the birth of a tragic115 age betokens116 only a return to itself of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a long time compelled it, living as it did in[Pg 153] helpless barbaric formlessness, to servitude under their form. It may at last, after returning to the primitive source of its being, venture to stalk along boldly and freely before all nations without hugging the leading-strings of a Romanic civilisation: if only it can learn implicitly117 of one people—the Greeks, of whom to learn at all is itself a high honour and a rare distinction. And when did we require these highest of all teachers more than at present, when we experience a re-birth of tragedy and are in danger alike of not knowing whence it comes, and of being unable to make clear to ourselves whither it tends.
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1
sufficiently
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| adv.足够地，充分地 | |
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2
credible
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| adj.可信任的，可靠的 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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incapable
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| adj.无能力的，不能做某事的 | |
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ineffably
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| adv.难以言喻地，因神圣而不容称呼地 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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luxuriousness
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awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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9
vaulted
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| adj.拱状的 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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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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intensifies
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| n.（使）增强， （使）加剧( intensify的名词复数 )v.（使）增强， （使）加剧( intensify的第三人称单数 ) | |
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intensification
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| n.激烈化，增强明暗度；加厚 | |
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pathos
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| n.哀婉，悲怆 | |
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surmounts
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| 战胜( surmount的第三人称单数 )； 克服（困难）； 居于…之上； 在…顶上 | |
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undue
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| adj.过分的；不适当的；未到期的 | |
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forth
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| adv.向前；向外，往外 | |
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impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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purely
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| adv.纯粹地，完全地 | |
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faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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unnatural
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| adj.不自然的；反常的 | |
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contradictory
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| adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立 | |
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epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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unprecedented
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| adj.无前例的，新奇的 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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32
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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descended
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| a.为...后裔的，出身于...的 | |
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innocence
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| n.无罪；天真；无害 | |
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touching
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| adj.动人的，使人感伤的 | |
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yearning
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| a.渴望的；向往的；怀念的 | |
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prehistoric
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| adj.（有记载的）历史以前的，史前的，古老的 | |
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idyllically
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idyllic
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| adj.质朴宜人的，田园风光的 | |
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indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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corrupt
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| v.贿赂，收买；adj.腐败的，贪污的 | |
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oppositional
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| 反对的，对抗的 | |
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43
solace
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| n.安慰；v.使快乐；vt.安慰(物)，缓和 | |
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pessimism
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| n.悲观者，悲观主义者，厌世者 | |
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45
precisely
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| adv.恰好，正好，精确地，细致地 | |
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46
incited
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| 刺激，激励，煽动( incite的过去式和过去分词 ) | |
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frightful
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| adj.可怕的；讨厌的 | |
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48
uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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49
glorification
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| n.赞颂 | |
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50
err
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| vi.犯错误，出差错 | |
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51
prospects
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| n.希望，前途(恒为复数) | |
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52
confirmation
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| n.证实，确认，批准 | |
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53
layman
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| n.俗人，门外汉，凡人 | |
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54
appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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55
voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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56
voluptuousness
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| n.风骚，体态丰满 | |
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57
behold
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| v.看，注视，看到 | |
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58
decorative
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| adj.装饰的，可作装饰的 | |
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apprehend
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| vt.理解，领悟，逮捕，拘捕，忧虑 | |
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conjures
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| 用魔术变出( conjure的第三人称单数 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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postulate
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| n.假定，基本条件；vt.要求，假定 | |
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sentient
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| adj.有知觉的，知悉的；adv.有感觉能力地 | |
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laity
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| n.俗人；门外汉 | |
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64
dictate
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| v.口授；(使)听写；指令，指示，命令 | |
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65
influential
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| adj.有影响的，有权势的 | |
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elegy
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| n.哀歌，挽歌 | |
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67
superfluous
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| adj.过多的，过剩的，多余的 | |
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68
concord
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| n.和谐；协调 | |
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69
renaissance
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| n.复活，复兴，文艺复兴 | |
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70
delightfully
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| 大喜，欣然 | |
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71
solely
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| adv.仅仅，唯一地 | |
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72
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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73
fluting
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| 有沟槽的衣料； 吹笛子； 笛声； 刻凹槽 | |
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74
surmise
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| v./n.猜想，推测 | |
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75
dawdling
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| adj.闲逛的，懒散的v.混（时间）( dawdle的现在分词 ) | |
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loathing
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| n.厌恶，憎恨v.憎恨，厌恶( loathe的现在分词)；极不喜欢 | |
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phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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delude
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| vt.欺骗；哄骗 | |
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hybrid
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| n.(动，植）杂种，混合物 | |
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parasitic
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| adj.寄生的 | |
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spasms
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| n.痉挛( spasm的名词复数 )；抽搐；（能量、行为等的）突发；发作 | |
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volitional
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| adj.意志的，凭意志的，有意志的 | |
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degenerate
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| v.退步，堕落；adj.退步的，堕落的；n.堕落者 | |
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amalgamation
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| n.合并，重组；；汞齐化 | |
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85
paraphrastic
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| adj.改写成容易明白的，说明性的 | |
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formerly
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| adv.从前，以前 | |
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attic
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| n.顶楼，屋顶室 | |
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alienated
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| adj.感到孤独的，不合群的v.使疏远( alienate的过去式和过去分词 )；使不友好；转让；让渡（财产等） | |
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phenomena
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| n.现象 | |
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lurking
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| 潜在 | |
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thereby
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| adv.因此，从而 | |
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divesting
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| v.剥夺( divest的现在分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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transformation
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| n.变化；改造；转变 | |
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auspices
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| n.资助，赞助 | |
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languish
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| vi.变得衰弱无力，失去活力，（植物等）凋萎 | |
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bondage
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| n.奴役，束缚 | |
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inexplicable
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| adj.无法解释的，难理解的 | |
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favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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demon
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| n.魔鬼，恶魔 | |
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100
arabesque
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| n.阿拉伯式花饰；adj.阿拉伯式图案的 | |
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subdue
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| vt.制服，使顺从，征服；抑制，克制 | |
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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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liar
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| n.说谎的人 | |
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romping
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| adj.嬉戏喧闹的，乱蹦乱闹的v.嬉笑玩闹( romp的现在分词 )；（尤指在赛跑或竞选等中）轻易获胜 | |
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indefatigably
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| adv.不厌倦地，不屈不挠地 | |
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106
pretext
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| n.借口，托词 | |
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107
insipidity
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| n.枯燥无味，清淡，无精神；无生气状 | |
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civilisation
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| n.文明，文化，开化，教化 | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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annihilate
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| v.使无效；毁灭；取消 | |
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111
infinitely
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| adv.无限地，无穷地 | |
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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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113
imprinted
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| v.盖印（imprint的过去式与过去分词形式） | |
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114
backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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115
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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116
betokens
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| v.预示，表示( betoken的第三人称单数 ) | |
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implicitly
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| adv. 含蓄地, 暗中地, 毫不保留地 | |
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