Bruennhilde: Wotan's/Siegfried's unconscious Part B-14

General Discussion about Wagner and The Ring of the Nibelung

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Bruennhilde: Wotan's/Siegfried's unconscious Part B-14

Postby alberich00 » Sat Jan 28, 2017 11:26 am

[P. 92] {FEUER} “ … it was a fresh hearing of Liszt’s Dante Symphony that revived the problem, what place in our art-world should be allotted to a creation as brilliant as it is masterly. Shortly before I had been busy reading the Divine Comedy … ; to me that tone-poem of Liszt’s now appeared the creative act of a redeeming genius, freeing Dante’s unspeakably pregnant intention from the [P. 93] inferno of his superstitions by the purifying fire of musical Ideality, and setting it in the paradise of sure and blissful feeling. Here the soul of Dante’s poem is shown in purest radiance.” [937W-{9/78} The Public In Time And Space: PW Vol. VI, p. 92-93]

[P. 167] “R. recalls King Henry IV’s words on the book of fate: ‘What philosophical maxims Sh. illuminates just through his observation and vividness of expression! Like, for instance, Othello’s remark that we ‘can call these delicate creatures ours, and not their appetites.’ Othello’s ‘O misery!’ as Iago goes on talking, which shows that he is becoming aware of a cruel world hitherto unimagined … .” [943W-{10/8/78} CD Vol. II, p. 167]

[P. 168] {FEUER} “He reads me a splendid extract from a letter by Seneca about death (quoted by Lecky) and says how much to be preferred are the ideas of the ancient world to those of the church today, whose power is rooted in the fear of death, or, rather, the life after death.” [944W-{10/10/78}CD Vol. II, p. 168]

[P. 188] {FEUER} “… at breakfast continuation of the conversation about the chapter in Lecky; we decide that the excesses to which the insistence on chastity led constituted a terrible feature; they were due to the impossibility of realizing something felt to lie deep within the human character, the desire to set oneself outside nature and yet to go on living.” [948W-{11/3/78}CD Vol. II, p. 188]

[P. 211] {FEUER} {SCHOP} “Coming back to Dis(raeli), he says, ‘What we read yesterday interested me far less than that single conversation,’ then he gets heated about the assumption that Jesus was a Jew; it has not been proved, he says, and Jesus spoke Syriac-Chaldaean: ‘Not until all churches have vanished will we find the Redeemer, from whom we are separated by Judaism. But his ideas are not easy to grasp; God as the [P. 212] ending of the universe – that does not allow for a cult, though perhaps monasteries, in which people of similar beliefs could find a refuge and from which they could influence the world, from the solitary state – but within the world itself it is not possible.’ “ [950W-{11/27/78}CD Vol. II, p. 211-212]
[P. 216] “He complains what little attention is paid to a sense of beauty, ‘in which I regard myself as Mozart’s successor’ – for example, the way Bruennhilde talks of Siegfried to Wotan in Die Walkuere. When I point out that the emotional feelings of the listener at this point prevent his having much regard for the consummate form: ‘That’s what the works are for, they are there and can be studied.’ “ [951W-{12/1/78}CD Vol. II, p. 216]

[P. 222] {anti-FEUER/NIET} {SCHOP} “In the morning R. comes to the subject of original sin, saying, with reference to Nietzsche’s assertion that all are innocent, that this is correct as regards operare, but the sin lies in existence itself, the will to live … .” [953W-{12/9/78}CD Vol. II, p. 222]

[P. 258] {FEUER} “I read ‘The Nibelung Myth’ and ‘Siegfried’s Tod’ and talk to R. about them. Later he tells me that he originally designed this more in the mode of antiquity; then, during his secluded life in Zurich, he became interested in Wotan’s downfall; in this work he was more a kind of Flying Dutchman.” [957W-{1/23/79}CD Vol. II, p 258]

[P. 265] {FEUER} “But he works and says to me, ‘Do not expect too much from the meadow – it must of course be short, and it cannot express delight in nonexistence, as in ‘Tristan.’ “ [959W-{2/3/79}CD Vol. II, p. 265]

[P. 299] {FEUER} “Over coffee he [Wagner] said to me that in fact Siegfried ought to have turned into Parsifal and redeemed Wotan, he should have come upon Wotan (instead of Amfortas) in the course of his wanderings, but there was no antecedent for it, and so it would have to remain as it was.” [964W-{4/29/79}CD Vol. II, p. 299]

[P. 310] {FEUER} “Afterward I recall that some days ago R. told me that Kundry was his most original female character; when he had realized that the servant of the Grail was the same woman who seduced Amfortas, he said, everything fell into place, and after that, however many years might elapse, he knew how it would turn out.” [965W-{5/17/79}CD Vol. II, p. 310]

[P. 140] {anti-FEUER} {SCHOP} “To the sound of heroic songs the chorus of youths approached the mazes of the ‘imitative’ dance. We know the choral chants to the priestly ceremonies, the dithyrambic choral dances of the Dionysian rites. What [P. 141] there was inspiration of the blind seer, becomes here the intoxication of the open-eyed ecstatic, before whose reeling gaze the actuality of Semblance dissolves to godlike twilight. Was the ‘musician’ artist? I rather think he made all Art, and became its earliest lawgiver.
{FEUER} {anti-FEUER} {SCHOP} The shapes and deeds beheld by the blind poet-teller’s second sight could not be set before the mortal eye save through ecstatic palsy of its wonted faculty of seeing but the physical appearance: the movements of the represented god or hero must be governed by other laws than those of common daily need, by laws established on the rhythmic ordering of harmonious tones. The fashioning of the tragedy belonged no more in strictness to the poet, but to the lyrical musician: not one shape, one deed in all the tragedy, but what the godlike poet had beheld before, and ‘told’ to his Folk; merely the choregus led them now before the mortal eye of man itself, bewitching it by music’s magic to a clairvoyance like to that of the original ‘Finder.’ The lyric tragedian therefore was not Poet, but through mastery and employment of the highest art he materialised the world the poet had beheld, and set the Folk itself in his clairvoyant state. – Thus ‘musical’ art became the term for all the gifts of godlike vision, for every fashioning in illustration of that vision. It was the supreme ecstasy of the Hellenic spirit. What remained when it had sobered down, were nothing but the scraps of ‘Techne’ – no longer Art, but the arts … .” [967W-{6/79} On Poetry and Composition: PW Vol. VI, p. 140-141]

[P. 895] {anti-FEUER/NIET} “Let us leave Darwinism alone: I believe little can be achieved here on the basis of feeling. Man evidently begins to exist with the entry of lying (cunning, dissimulation) into the powerful series of the development of beings … .” [973W-{7/14/79}Letter to Constantin Frantz: SLRW, p. 895]

[P. 351] {FEUER} {SCHOP} “He started on the Bible today and cannot get over his astonishment that in England and elsewhere this story of the Creation is still the basis of religious instruction; all the same, the sense of sin through knowledge is a fine one.” [974W-{8/8/79}CD Vol. II, p. 351]

[P. 367] {FEUER} “ … I maintain to R. that there are many things of which he understands nothing, since genius has no part in original sin. He: ‘I live like a sort of animal.’ I: ‘Yes, in innocence.’ “ [977W-{9/21/79}CD Vol. II, p. 367]
[P. 373] {FEUER} “… he thinks of Othello and Desdemona, and I remind him of the remark he once made to me – that O. killed Desdemona because he knew she must one day be unfaithful to him. He continues by saying that natural tendencies hold sway over acts of enthusiasm, and once the image had arisen in his mind, even if put there by such a despicable rogue, life became impossible, everything was finished, and the only saving grace that D. die with her purity unsullied.” [978W-{10/1/79}CD Vol. II, p. 373]

[P. 207] {FEUER} {anti-FEUER/NIET} “ … quite apart from their value in the eyes of the world, in his sufferings and death man is able to recognise a blessed expiation; whereas the beast, without one ulterior thought of moral advantage, sacrifices itself wholly and purely to love and lealty – though this also is explained by our physiologists as a simple chemical reaction of certain elementary substances.” [988W-{10/79}Letter to E. von Weber ‘Against Vivisection’: PW Vol. VI, p. 207]

[P. 395] {FEUER} “At lunch a recollection of Aeschylus’s chorus (the female hare and the eagle) causes him to remark on the nobility of this outlook, and he feels it was things like this that might have led to accusations of blasphemy against Aeschylus, this connection between holiness and Nature was probably at the bottom of the Eleusinian mysteries.” [993W-{11/14/79}CD Vol. II, p. 395]

[P. 395] {FEUER} “In our times, R. continues, religion should seek to influence ethics, and allow faith to be represented by art, which can transform illusion into truth.” [994W-{11/14/79}CD Vol. II, p. 395]

[P. 397] {anti-FEUER/NIET} “He also talks at lunch about the study of history in childhood and where one should begin … . He thinks, from the beginning of mankind, the first migrations and the return to the region of the Ganges, then the figures of Semiramis, Cyrus, in order to arrive at the Greeks; and this without questioning the legendary parts, for what human beings [P. 398] have themselves thought out and imagined is more important than what really happened.” [995W-{11/17/79}CD Vol. II, p. 397-398]

[P. 407] {anti-FEUER/NIET} “At breakfast we come back to yesterday’s conversation about natural laws, and R. says he will once more tell Herr v. S. that they are of no benefit, no help at all for morals and ethics – ‘and if on top of that their application is despised, nothing remains of it all but idle sport.’ “ [997W-{12/1/79} CD Vol. II, p. 407]

[P. 34] {FEUER} {anti-FEUER/NIET} “Yet another Hope might quicken once more in me, if only I could see it stirring in the breasts of others. It comes not from without. Men of science persuade us that Copernicus reduced the ancient Church-belief to ruins with his planetary system, since it robbed God Almighty of his heavenly seat. (…) The god within the human breast, of whose transcendent being our great Mystics were so certain sure, that god who needs no heavenly-home demonstrable by science, has given the parsons more ado. For us Germans had he become our inmost own: but our Professors have done him many a harm … . Yet this approachless god of ours had begotten much within us, and when at last he had to vanish, he left us – in eternal memory of him – Music.” [999W-{12/25/79} Introduction to the Year 1880: PW Vol. VI, p. 34]

[P. 34] {FEUER} {anti-FEUER/NIET} “Our Music he [“the Devil”] shall not thus deal with; for still it is the living god within our bosom. Let us guard it therefore, and ward off all profaning hands. For us it shall become no ‘literature’; in it resides our final hope of life itself.
{FEUER} {anti-FEUER/NIET} There is something special in our German Music, ay, something divine. It makes its acolytes all martyrs, and instructs by them the heathen. (…) We alone know ‘Music’ as herself, and to us she gives the power of all regeneration and new-birth; but only while we hold her holy. Were we to lose the sense of genuineness in this one art, we had lost our last possession. May [P. 35] it therefore not mislead our friends, if precisely on this field, of Music, we show a front implacable to whatsoe’er we rate as spurious. Indeed it wakes in us no little pain, to see the downfall of our musical affairs so utterly unheeded; for so our last religion melts away in jugglery. (…) And where and when, with us, is music not made? Announce the end of the world, and a grand Extra-concert will be arranged for the event! (…) And then the Concert-establishments, the Musical Academies and Oratorio-unions, the soirees and matinees of Chamber-music! Who composes for all these music-making conventicles, and – how can they ever be composed for? We know quite well: not one true word does their music say. And we, who have to hear it, put out thereby the last light the German God had left in us to find our way back to him!“ [1000W-{12/25/79} Introduction to the Year 1880: PW Vol. VI, p. 34-35]

[P. 424] {anti-FEUER} “He tells me the thought he has written down: ‘The path from religion to art bad, from art to religion good.’ “ [1004W-{1/13/80} CD Vol. II, p. 424]

[P. 426] “Regarding poets, he says a poet is a visionary, and he tells me how Herwegh always needed a framework for his thoughts: ‘He grew lazy and, like all idle people, sought refuge in science, dissecting frogs. {FEUER} I wanted to get him producing again and suggested the subject of reincarnation, 9 cantos, three figures with 3 cantos for each, the same type recurring at different times – what I mean by God, who runs parallel with Nature up to the point where the parallels meet.” [1005W-{1/15/80}CD Vol. II, p. 426]

[P. 898] {FEUER} {anti-FEUER/NIET} “I am almost afraid that we shall have difficulty in reaching an understanding with our friends and patrons on the future meaning and significance of the incomparably and sublimely simple and true redeemer who appears to us in the historically intelligible figure of Jesus of Nazareth, but who must first be cleansed and redeemed of the distortion that has been caused by Alexandrine, Judaic and Roman despotism. Nevertheless, although we are merciless in abandoning the Church and the [P. 899] priesthood and, indeed, the whole historical phenomenon of Christianity, our friends must always know that we do so for the sake of that same Christ whom -- -- because of His utter incomparability and recognizability – we wish to preserve in His total purity, so that – like all the other sublime products of man’s artistic and scientific spirit – we can take Him with us into those terrible times which may very well follow the necessary destruction of all that at present exists.” [1006W-{1/17/80}-Letter to Hans von Wolzogen (SLRW; P. 898-899]

[P. 456] “He goes into the next room and plays something from the 3rd act of
‘Parsifal’! – When he sees how moved our friends are, he observes that this is not
possible unless one sees the action and follows every word. ‘It is different when I
am telling you everything at once – then we are working together.’ ” [1009W-
{3/22/80} CD Vol. II; P. 456]

[P. 470] {FEUER} “Much talk about Dante in the past few days, R. is put off by his
receding forehead, and the rigid dogmatism in his poems is disturbing. He says
there are certain things human beings have been able to express only in symbols,
and the church has committed the crime of consolidating these and forcing them on
us as realities through persecution; it is permissible for art to use these symbols,
but in a free spirit and not in the rigid forms imposed by the church; since art is a
profound form of play, it frees these symbols of all the accretions the human
craving for power has attached to them. But Dante did not follow this
method.” [1012W-{4/27/80}CD Vol. II, p. 470]

[P. 475] {FEUER} “In the morning we talked at length about religion and art. R. describes how art works in metaphors and allegories as such but at the same time conveys to the emotions the truth behind the dogmas. Aeschylus’s ‘Oresteia’, he says, is undoubtedly more profound than all the Eleusinian mysteries. He also speaks of the godlike qualities manifest in Christ and says it is understandable that the birth of such a being should be presented as a miracle – the Immaculate Conception repulsive as dogma, but wonderful as legend and in art (painting).” [1014W-{5/9/80}CD Vol. II, p. 475]

[P. 496] {FEUER} “R. slept well, he walks in the garden with the children, again sees a lizard catching a glowworm, but the children rescue it. ‘If it were not for the assumption that the world was made by a good God, one would find it all easy to understand. But none of them, not even my good Gleizes, can free himself from the idea that once all was Paradise, and then they relapse into sophisms.’ “[1017W-{6/25/80}CD Vol. II, p. 496]

[P. 213] {FEUER} “One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion by recognising the figurative value of the mythic symbols which the former would have us believe in their literal sense, and revealing their deep and hidden truth through an ideal presentation. Whilst the priest stakes everything on the religious allegories being accepted as matters of fact, the artist has no concern at all with such a thing, since he freely and openly gives out his work as his own invention. But Religion has sunk into an artificial life, when she finds herself compelled to keep on adding to the edifice of her dogmatic symbols, and thus conceals the one divinely True in her beneath an ever growing heap of incredibilities commended to belief. Feeling this, she has always sought the aid of Art; who on her side has remained incapable of higher evolution so long as she must present that alleged reality of the symbol to the senses of the worshipper in the form of fetishes and idols, -- whereas she could only fulfil her true vocation when, by an ideal presentment of the allegoric figure, she led to apprehension of its inner kernel, the truth ineffably divine.” [1019W-{6-8/80}Religion and Art: PW Vol. VI, p. 213]

[P. 213] {FEUER} {SCHOP} “Now the deepest basis of every true religion we find in recognition of the frailty of this world, and the consequent charge to free ourselves therefrom. It is manifest that at all times it needed a superhuman effort to disclose this knowledge to men in a raw state of nature, the Folk in fact, and accordingly the most successful work of the religious Founder consisted in the invention of [P. 214] mythic allegories, by which the people might be led along the path of faith to practical observance of the lessons flowing from that root-knowledge. In this respect we can but regard it as a sublime distinction of the Christian religion, that it expressly claims to bare the deepest truth to the ‘poor in spirit,’ for their comfort and salvation; whereas the doctrine of the Brahmins was the exclusive property of ‘those who know’ – for which reason the ‘rich in spirit’ viewed the nature-ridden multitude as shut from possibility of knowledge and only arriving at insight into the nullity of the world by means of numberless rebirths. That there was a shorter road to salvation, the most enlightened of the ‘Reborn’ himself disclosed to the poor blind Folk … .” [1020W-{6-8/80}Religion and Art: PW Vol. VI, p. 213-214]

[P. 215] {FEUER} {anti-FEUER/NIET} {SCHOP} “Our best guide to an estimate of the belief in miracles will be the demand addressed to natural man that he should change his previous mode of viewing the world and its appearances as the most absolute of realities; for he now was to know this world as null, an optical delusion, and to seek the only Truth beyond it. If by a miracle we mean an incident that sets aside the laws of Nature; and if, after ripe deliberation, we recognise these laws as founded on our own power of perception, and bound inextricably with the functions of our brain: then belief in miracles must be comprehensible to us as an almost necessary consequence of the reversal of the ‘will to live,’ in defiance of all Nature. To the natural man this reversal of the Will is certainly itself the greatest miracle, for it implies an abrogation of the laws of Nature; that which has effected it must consequently be far above Nature, and of superhuman power, since he finds that union with It is longed for as the only object worth endeavour. It is this Other that Jesus told his poor of, as the ‘Kingdom of [P. 216] God,’ in opposition to the ‘kingdom of the world.’ “ [1021W-{6-8/80}Religion and Art: PW Vol. VI, p. 215-216]

[P. 217] {FEUER} {anti-FEUER} {SCHOP} “We have nothing to do with the astoundingly varied attempts of speculative human reason to explain the nature of this Son of the God, who walked on earth and suffered shame: where the greater miracle had been revealed in train of that manifestation, the reversal of the will-to-live which all believers experienced in themselves, it already embraced that other marvel, the divinity of the herald of salvation. The very shape of the Divine had presented itself in anthropomorphic guise; it was the body of the quintessence of all pitying Love, stretched out upon the cross of pain and suffering. A – symbol? – beckoning to the highest pity, to worship of suffering, to imitation of this breaking of all self-seeking Will: nay, a picture, a very effigy! In this and its effect upon the human heart, lies all the spell whereby the Church soon made the Graeco-Roman world her own. But what was bound to prove her ruin, and lead at last to the very louder ‘Atheism’ of our day, was the tyrant-prompted thought of tracing back this Godliness upon the cross to the Jewish ‘Creator of heaven and earth,’ a wrathful God of Punishment who seemed to promise greater power than the self-offering, all-loving Saviour of the Poor. That God was doomed by Art … .” [1023W-{6-8/80}Religion and Art: PW Vol. VI, p. 217]

[P. 217] {FEUER} “As though impelled by an artistic need, leaving Jehova the ‘Father’ to shift for himself, Belief devised the necessary miracle of the Saviour’s birth by a Mother who, [P. 218] not herself a goddess, became divine through her virginal conception of a son without human contact, against the laws of Nature. A thought of infinite depth, expressed in form of miracle. … the mystery of motherhood without natural fecundation can only be traced to the greater miracle, the birth of the God himself: for in this the Denial-of-the-world is revealed by a life pre-figuratively offered up for its redemption. As the saviour himself was recognised as sinless, nay, incapable of sin, it followed that in him the Will must have been completely broken ere ever he was born, so that he could no more suffer, but only feel for others’ sufferings; and the root hereof was necessarily to be found in a birth that issued, not from the Will-to-live, but from the Will-to-redeem.” [1024W-{6-8/80}Religion and Art: PW Vol. VI, p. 217-218]

[P. 223] {FEUER} “Through the art of Tone did the Christian Lyric thus first
become itself an art: the music of the Church was sung to the words of the abstract
dogma; in its effect however, it dissolved those words and the ideas they fixed, to
the point of their vanishing out of sight; and hence it rendered nothing to the
enraptured Feeling save their pure emotional content.
{FEUER} Speaking strictly, the only art that fully corresponds with the
Christian belief is Music; even as the only music which, now at least, we can place
on the same footing as the other arts, is an exclusive product of Christianity. In its
development, alone among the fine arts, no share was borne by re-awaking Antique
Art, whose tone-effects have almost passed beyond our ken: wherefore also we
regard it as the youngest of the arts, and the most capable of endless evolution and
appliance. (…) In this sense, having seen the Lyric compelled to resolve the form
of words to a shape of tones, we must recognise that Music reveals the inmost
essence of the Christian religion with definition unapproached; wherefore we may
figure it as bearing the same relation to Religion which that picture of Raphael’s
has shown us borne by the Child-of-god to the virgin Mother: for, as pure Form of
a divine Content freed from all abstractions, we may regard it as a world-
redeeming incarnation of the divine dogma of the nullity of the phenomenal world
itself. Even the painter’s most ideal shape remains conditioned by the dogma’s
terms, and when we gaze upon her likeness, that sublimely virginal Mother of God
lifts us up above the miracle’s [P. 224] irrationality only by making it appear as
wellnigh impossible. Here we have: ‘That signifies.’ But Music says: ‘That is,’ –
for she stops all strife between reason and feeling, and that by a tone-shape
completely removed from the world of appearances, not to be compared with
anything physical, but usurping our heart as by act of Grace.
{FEUER} This lofty property of Music’s enabled her at last to quite divorce
herself from the reasoned word; and the noblest music completed this divorce in
measure as religious Dogma became the toy of Jesuitic casuistry or rationalistic
pettifogging. (…) Only her final severance from the decaying Church could en-
able the art of Tone to save the noblest heritage of the Christian idea in its purity of
over-worldly reformation … .” [1026W-{6-8/80}Religion and Art: PW Vol. VI, p.
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