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Bruennhilde: Wotan's/Siegfried's unconscious Part B-5

PostPosted: Sat Jan 28, 2017 11:46 am
by alberich00
{FEUER} Granted, that Nature has also had her share in the birth of Art, just as the highest expression of the latter is the brilliant ‘close,’ the conscious reunion of Nature with Man, effected by his understanding of her. Her share, however, was this: that she abandoned Man, the creator of Art, to the conditions which must necessarily spur him on to self-gained consciousness. (…) From the over-tender mother, she became to him a bashful bride, whom he now must win by vigour and love-worthiness for his – endlessly enhanced – fruition; a bride who, vanquished thus by mind and valour, made offering of herself to Love’s embraces.” [448W-{2/50} Art and Climate: PW Vol. I, p. 252-253]


[P. 260] {FEUER} “Into this solitary man, existing at last in naught but the idea, -- this man in whom, amid the physical lack of all community of the species, the essence of the sheer personality was represented as the essence of the species, -- the People’s Christianity instilled the lifebreath of passionate heart’s-desire. The error of the philosopher became the madness of the masses. This frenzy’s scene of action is the Middle Ages: on it we see the Nature-sundered man – taking his personal, egoistic, and therefore impotent being for the essence of the human species – with greed and haste, by physical and moral mutilation, hunt after his redemption into God; under whose image, by an instinctive error, he expressed the idea of the in truth consummate essence of the human race and Nature.” [451W-{2/50} Art and Climate: PW Vol. I, p. 260]


[P. 100] {FEUER} [Speaking of Heinrich Heine, Wagner says:] “… no make-believe could hold its ground before him: by the remorseless demon of denial of all that seemed worth denying was he driven on without a rest, through all the mirage of our modern self-deception, till he reached the point where in turn he duped himself into a poet, and was rewarded by his versified lies being set to music by our own composers. – He was the conscience of Judaism, just as Judaism is the evil conscience of our modern Civilisation.” [460W-{8/50} Judaism In Music: PW Vol. III, p. 100]


[P. 100] {FEUER} “Yet another Jew have we to name, who appeared among us as
a writer. From out his isolation as a Jew, he came among us seeking for
redemption: he found it not, and had to learn that only with our redemption, too,
into genuine Manhood, would he ever find it. To become Man at once with us,
however, means firstly for the Jew as much as ceasing to be Jew. And this had
Boerne done. (…) Without once looking back, take ye your part in this
regenerative work of deliverance through self-annulment (selbstvernictenden); then
are we one and Un-dissevered! But bethink ye, that only one thing can redeem you
from the burden of your curse: the redemption of Ahasuerus – Going
under!” [461W-{8/50} Judaism In Music: PW Vol. III, p. 100]


[P. 101] “ … in opera music wrongly has been made the aim, while the drama was
merely a means for the display of the music. Music, on the contrary, should do no
more than contribute its full share towards making the drama clearly and quickly
comprehensible at every moment. While listening to a good – that is, rational –
opera, people should, so to speak, not think of the music at all, but only feel it in an
unconscious manner, while their fullest sympathy should be wholly occupied by
the action represented.” [462W-{9/9/50} Letter to Herr Von Zigesar: CWL; P. 101]


[P. 219] {FEUER} “Look, just as we need a water-cure to heal our bodies, so we
need a fire-cure in order to remedy (i.e., destroy) the cause of our illness – a cause
that is all around us. Shall we return then to a state of nature, shall we reacquire the
human animal’s ability to live to be 200 years old? God forbid! Man is a social, all-
powerful being only through culture. Let us not forget that culture alone grants us
the power to enjoy life to the full as only mankind can enjoy it. True enjoyment,
however, consists in distilling a specific concentrate out of the general fund of
things worth enjoying, so that we can assimilate in an instant what time and the
elements have to offer us in widely divergent context. Who, at the moment of
enjoyment, thinks of the [P. 220] permanence of that enjoyment? If we think of
permanence, the enjoyment itself immediately fades.” [463W-{10/22/50}Letter to
Theodore Uhlig: SLRW, p. 219-220]


[P. 220] {FEUER} “My essay on the nature of opera, the final fruits of my deliber-
ations, has assumed greater dimensions than I had first supposed: but if I wish to
demonstrate that music (as a woman) must necessarily be impregnated by a poet
(as a man), then I must ensure that this glorious woman is not abandoned to the
first passing libertine, but that she is made pregnant only by the man who yearns
for womankind with [P. 221] true, irresistible love.” [464W-{11/25/50}Letter to
Franz Liszt: SLRW, p. 220-221]


[P. 345] {FEUER} “Consciousness is the end, the dissolution of unconsciousness: but unconscious agency is the agency of nature, of the inner necessity; only when the result of this agency has come to physical appearance, does consciousness set in – and that, of just the physical phenomenon. So ye err when ye seek the revolutionary force in consciousness, and therefore fain would operate through the intelligence: your intelligence is false – i.e. capricious – so long as it is not the apperception of what already has ripened to a physical appearance. Not ye, but the folk – which deals unconsciously – and for that very reason , from a nature-instinct – will bring the new to pass; but the might of the folk is lamed for just so long as it lets itself be led by the chain of an obsolete intelligence, a hindering consciousness: only when this is completely annihilated by and in itself, -- only when we all know and perceive that we must yield ourselves, not to our intelligence, but to the necessity of nature, therefore when we have become brave enough to deny our intellect, shall we obtain from natural unconsciousness, from want, the force to produce the new, to bring the stress of nature to our consciousness through its satisfaction.” [465W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 345]


[P. 346] {FEUER} “The unconscious is precisely the involuntary, the necessary and creative, -- only when a general need has satisfied itself at behest of this involuntary necessity, does consciousness set in, and the satisfied, the overpassed, can now become an object of conscious treatment by representation; but this it attains [P. 347] in art, not in the state. The state is a dam to necessary life; art is the conscious expression of something life has brought to end, has overcome.” [466W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 346-347]


[P. 349] {FEUER} “… through him [the poet], … the unconscious in the people’s product comes to consciousness, and it is he who imparts to the folk this consciousness. Thus in art the unconscious life of the folk arrives at consciousness, and that more definitely and distinctly than in science.” [468W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 349]


[P. 349] {anti-FEUER} “Only that science which wholly and completely denies itself and concedes all authenticity to nature, consequently avow nothing but the natural necessity, thereby totally disowning and annulling itself as regulator or ordainer, -- only that science is true: so the truth of science begins exactly where its essence ceases and nothing remains but the consciousness of natural necessity. But the representress of this necessity is – art.” [469W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 349]


[P. 350] {FEUER} “Science is the highest power of the human mind; but the enjoyment of this power is art.” [470W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 350]


[P. 351] {FEUER} “What man is to nature, the artwork is to man: all the conditions needful for the existence of man, begat man: man is the product of nature’s unconscious, instinctive begetting, but in him, in his being and life – as a thing differentiated from nature – does consciousness make its first appearance. Just so, when from the instinctive, necessarily-shaping life of men the conditions for the existence of the artwork arise, the artwork also arrives quite of itself, as conscious witness of that life: it arises as soon as it can arise, but then with necessity.” [472W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 351]
[P. 352] {FEUER} “Man, as he stands confronting nature, is wilful and therefore unfree: from his opposition to, his wilful conflict with her, have issued all his errors (in religion and history): only when he comprehends the necessity in the phenomena of nature and his indissoluble connection with her, and becomes conscious of her, fits himself to her laws, does he become free. So the artist confronting life: as long as he chooses, proceeds wilfully, he is unfree; only when he grasps the necessity of life, is he also able to portray it: then, however, he has no more choice, and consequently is free and true.
{FEUER} “The essence of the understanding (verstand) is wilful throughout, because it refers all phenomena to itself alone; only when it ascends into the joint understanding, into reason (vernunft), i.e. perceives the general necessity of things, is it free.” [473W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 352]


[P. 368] {FEUER} “Reason (vernunft) is man’s knowledge of nature, as it were the faithful mirror of nature in the human brain: reason can know naught else than nature: a knowledge beyond nature were madness.” [477W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 368]


[P. 371] {FEUER} “The condensation of the most varied and extended phenomena, where many members harmonise to produce one, single, definite effect; the perspicuous presentation of such a harmony, which to us remains unseizable without the deepest research and widest experience, and fills us with amazement when beheld, -- in art, which can operate only conformably to certain conditions of time and place, this is to be obtained through nothing save the miraculous. Here in poetic fiction the tremendous chain of connection embracing the most heterogeneous phenomena is condensed to an easily-surveyed bond of fewer links, yet the force and might of the whole great chain is put into these few: and in art this might is miracle.” [478W-{49-51 (?)} Notes for ‘Artisthood of the Future’ (unfinished); Sketches and Fragments: PW Vol. VIII, p. 371]


[P. 81] [Speaking of Mozart, Wagner states that:] “Instinctively his music ennobled all the conventional stage-characters presented him … . In this way he was able to lift the characters of ‘Don Juan,’ for instance, into such a fulness of expression that a writer like Hoffmann could fall on the discovery of the deepest, most mysterious relations between them, relations of which neither poet nor musician had been ever really conscious.” [482W-{50-1/51} Opera and Drama: PW Vol. II, p. 81]


[P. 109] “Yet again, the new Form could only have been a genuine art-form, provided it showed itself as the explicit utterance of a specific musical Organism; but every musical organism is by its nature -- a womanly; it is merely a bearing, and not a begetting factor; the begetting-force lies clean outside it, and without fecundation by this force it positively cannot bear. – Here lies the whole secret of the barrenness of modern music.” [484W-{50-1/51} Opera and Drama: PW Vol. II, p. 109]


[P. 110] {FEUER} “Beethoven but discloses to us here the inner organism of Absolute Music: his concern was, in a sense, to restore this organism from its mechanical state (diesen Organismus aus des Mechanik herzustellen), to vindicate its inner life, and to show it at its livingest in the very act of Bearing. But what he employed to fertilise this organism, was still the Absolute Melody; he thus put life into this organism only so far as he practised it in Bearing – so to say – and indeed, let it re-bear an already finished melody. Precisely through that process, however, he found himself driven on to supply this musical organism, now freshly quickened into bearing-power, with the fecundating seed as well; and this he took from the Poet’s power of begetting.” [485W-{50-1/51} Opera and Drama: PW Vol. II, p. 110]


[P. 111] “Music is the bearing woman, the Poet the begetter; and Music had therefore reached the pinnacle of madness, when she wanted, not only to bear, but also to beget.
{FEUER} Music is a woman.” [486W-{50-1/51} Opera and Drama: PW Vol. II, p. 111]


[P. 154] {FEUER} “Just as the human form is to him the most comprehensible, so also will the essence of natural phenomena – which he does not yet know in their reality – become comprehensible only through condensation to a human form. Thus in Mythos all the shaping impulse of the Folk makes toward realising to its senses a broadest grouping of the most manifold phenomena, and in the most succinct of shapes. At first a mere image formed by Phantasy, this shape behaves itself the more entirely according to human attributes, the plainer it is to become, notwithstanding that its Content is in truth a suprahuman and supranatural one: to wit, that joint operation of multi-human or omni-natural force and faculty which, conceived as merely the concordant action of human and natural forces in general, is certainly both natural and human, but appears superhuman and supernatural by the very fact that it is ascribed to one imagined individual, represented in the shape of Man. By its faculty of thus using its force of [P. 155] imagination to bring before itself every thinkable reality and actuality, in widest reach but plain, succinct and plastic shaping, the Folk therefore becomes in Mythos the creator of Art … Art, by the very meaning of the term, is nothing but the fulfilment of a longing to know oneself in the likeness of an object of one’s love or adoration, to find oneself again in the things of the outer world, thus conquered by their representment.” [489W-{50-1/51} Opera and Drama: PW Vol. II, p. 154-155]


[P. 179] {FEUER} “The life-bent of the Individual utters itself forever newly and directly, but the essence of Society is use and wont and its ‘view’ a mediated one. Wherefore the ‘view’ of Society, so long as it does not fully comprehend the essence of the Individual and its own genesis therefrom, is a hindering and shackling one; and it becomes ever more tyrannical, in exact degree as the quickening and innovating essence of the Individual brings its instinctive thrust to battle against habit. (…) Since the Individual, through his deed committed against ethical Wont, had ruined himself in the eyes of [P. 180] Society (vor der Gesellschaft); but yet, with [later] conscience of his deed, in so far re-entered the pale of Society as he condemned himself by his own conscience (aus ihrem Bewusstein selbst): so the act of unconscious sinning appeared explicable through nothing but a curse which rested on him without his personal guiltiness. This curse – represented in the Mythos as the divine chastisement for a primordial crime, and as cleaving to one special stock until its downfall – is in truth nothing other than an embodiment of the might of Instinct (Unwillkuer) working in the unconscious, Nature-bidden actions of the Individual; whereas Society appears as the conscious, the capricious (Willkuerliche), the true thing to be explained and exculpated. Explained and exculpated will it only be, however, when its manner of viewing is likewise recognised as an instinctive one, and its conscience as grounded on an erroneous view of the essence of the Individual.” [500W-{50-1/51} Opera and Drama: PW Vol. II, p. 179-180]


[P. 182] “The hapless pair [i.e. Jocasta and her son, Oedipus], whose Conscience (Bewusstsein) stood within the pale of human Society, passed judgment on themselves when they became conscious of their unconscious crime: [P. 183] … . How full of meaning it is, then, that precisely this Oedipus had solved the riddle of the Sphinx! In advance he uttered both his vindication and his own condemnal when he called the kernel of this riddle Man. (…) {FEUER} It is we who have to solve that riddle, to solve it by vindicating the instinct of the Individual from out Society itself; whose highest, still renewing and re-quickening wealth, that Instinct is.” [502W-{50-1/51} Opera and Drama: PW Vol. II, p. 182-183]


[P. 184] {FEUER} “Antigone, the sister of both brothers, -- she who had followed her blind father into banishment, -- in full consciousness defied the edict, interred the corpse of her outlawed brother, and suffered the appointed punishment. – Here we see the State, which had imperceptibly waxed from out the Society, had fed itself on the latter’s habit of view, and had so far become the attorney (Vertreter) of this habit, that now it represented abstract Wont alone, whose core is fear and abhorrence of the thing unwonted.” [503W-{50-1/51} Opera and Drama: PW Vol. II, p. 184]


[P. 187] {FEUER} “Quiet and order, even at the cost of the most despicable outrage on human nature and the wonted morality itself, -- at the cost of a conscious, deliberate murder of a child [Oedipus] [P. 188] by its own father [Laius] , prompted by the most unfatherly self-regard, -- this Quiet and Order were at any rate more worth considering than the most natural of human sentiments, which bids a father sacrifice himself to his children, not them to him. What, then, had this Society become, whose natural moral-sense had been its very basis? The diametrical opposite of this its own foundation: the representative of immorality and hypocrisy. The poison which had palsied it, however, was – use-and-wont. The passion for use-and-wont, for unconditional quiet, betrayed it into stamping down the fount from which it might have ever kept itself in health and freshness; and this fount was the free, the self-determining Individual. Moreover, in its utmost palsy, Society has only had morality brought back to it, i.e. the truly human morality, by the Individual; by the Individual who, of the instinctive thrust of Nature’s necessity, has lifted up his hand against and morally annulled it.” [505W-{50-1/51} Opera and Drama: PW Vol. II, p. 187-188]


[P. 188] “In this State there was but one sorrowing heart, in [P. 189] which the feeling of Humanity had sought a shelter: -- it was the heart of a sweet maiden, from whose soul there sprang into all-puissant beauty the flower of Love. Antigone knew nothing of Politics: -- she loved.” [506W-{50-1/51} Opera and Drama: PW Vol. II, p. 188-189]


[P. 195] {FEUER} “It all the more necessarily became the poet’s task to display the battle in which the Individual sought to free himself from the political State or religious Dogma … . (…)
[P. 196] {FEUER} The dangerous corner of the human brain, into which the entire individuality had fled for refuge, -- the State [P. 197] endeavoured to sweep it out as well, by the aid of religious Dogma; but here the State was doomed to failure, since it could merely bring up hypocrites, i.e. State-burghers who deal otherwise than as they think. Yet it was from thinking, that there first arose the force to withstand the State. The first purely human stir of freedom manifested itself in warding off the bondage of religious dogma; and freedom of thought the State at last was forced to yield.” [510W-{50-1/51} Opera and Drama: PW Vol. II, p. 195-197]


[P. 201] {FEUER} “Looked at reasonably, the Going-under of the State can mean nothing else but the self-realisement of Society’s religious conviction (Bewusstsein) of its purely-human essence. By its very nature, this conviction can be no Dogma stamped upon us from without, i.e. it cannot rest on historical traditions, nor be drilled into us by the State. So long as any one of life’s actions is demanded of us as an outward Duty, so long is the object of that action no object of Religious Conscience; for when we act from the dictates of religious conscience we act from out ourselves, we so act as we cannot act otherwise. But Religious Conscience means a universal conscience (allgemeinsames Bewusstsein); and conscience cannot be universal, until it knows the Unconscious, the Instinctive, the Purely-human, as the only true and necessary thing, and vindicates it by that knowledge.” [513W-{50-1/51} Opera and Drama: PW Vol. II, p. 201]


P. 202] {FEUER} “In the free self-determining of the Individuality there therefore lies the basis of the social Religion of the Future … .
{FEUER} … until now we can only apprehend each human relationship in the shape of a [P. 203] Right conferred by historical tradition, and in its prescription by a statutory ‘norm of standing.’ But we may guess the measureless wealth of living individual relationships, if we take them as purely-human, ever fully and entirely present; i.e. if we think every extrahuman or non-present thing that in the State, as Property and historic Right, has placed itself between them, has torn asunder their ties of Love, has dis-individualised, Class-uniformed, and State-established them, -- if we think this all sent far away [“fernen”?]. “ [514W-{50-1/51} Opera and Drama: PW Vol. II, p. 202-203]


[P. 204] {FEUER} “The State – taken at its wisest – thrusts upon us the experiences of History, as the plumb-line for our dealings; yet we can only deal sincerely, when through our Instinctive dealings themselves we reach experience; [P. 205] an experience taught us by communications can only be resultful for us, when by our instinctive dealings we make it over again for ourselves. Thus the true, the reasonable love of age toward youth substantiates itself in this; that it does not make its own experiences the measure for youth’s dealings, but points it toward a fresh experience, and enriches its own thereby … .” [516W-{50-1/51} Opera and Drama: PW Vol. II, p. 204-205]


[P. 205] {FEUER} “The Going-under of the State means therefore the falling-away of the barrier which the egoistic vanity of Experience, in the form of Prejudice, has erected against the spontaneity of individual dealings. This barrier at present takes the place that naturally belongs to love, and by its essence it is lovelessness; i.e. Experience eaten up with its own conceit; and at last, the violently prosecuted will to reap no more experiences, -- the self-seeking narrow-mindedness of Habit, the cruel doggedness of Quiet.” [517W-{50-1/51} Opera and Drama: PW Vol. II, p. 205]


{FEUER} The loving admonition of the experienced to the inexperienced, of the peaceful to the passionate, of the beholder to the doer, is given the most persuasively and resultfully by bringing faithfully before the instinctive agent his inmost being. He who is possessed with life’s unconscious eagerness, will never be brought by general moral exhortations to a critical knowledge (zur urtheilfaehigen Erkenntniss) of his own being, but this can only succeed entirely when in a likeness faithfully held up before him he is able to look upon himself; for right cognisance is re-cognition, just as right conscience is knowledge of our own Unconsciousness. The admonisher is the understanding, the experienced-one’s conscious power of view: the thing to be admonished is the feeling, the unconscious bent-to-doing of the seeker for experience.” [518W-{50-1/51} Opera and Drama: PW Vol. II, p. 206]


[P. 208] {FEUER} Only in the most perfect artwork therefore, in the Drama, can the insight of the experienced-one impart itself with full success; and for the very reason that, through employment of every artistic expressional-faculty of man, the poet’s aim (Absicht) is in Drama the most completely carried from the Understanding to the Feeling, -- to wit, is artistically imparted to the Feeling’s most directly receptive organs, the senses. The Drama, as the most perfect artwork, differs from all other forms of poetry in just this, -- that in it the Aim is lifted into utmost imperceptibility, by its entire realisation. In Drama, wherever the aim, i.e. the Intellectual Will, stays still observable, there the impression is also a chilling one; for where we see the poet still will-ing, we feel that as yet he can not. The poet’s can-ning, however, is the complete ascension of the Aim into the Artwork, the emotionalising of the intellect (Gefuehlswerdung des Verstandes).” [519W-{50-1/51} Opera and Drama: PW Vol. II, p. 206-208]


[P. 208] {FEUER} “In presence of the Dramatic Artwork, nothing should remain for the combining Intellect to search for. Everything in it must come to an issue sufficient to set our [P. 209] Feeling at rest thereon; for in the setting-at-rest of this Feeling resides the repose, itself, which brings us an instinctive understanding of Life. In the Drama, we must become knowers through the Feeling. The Understanding tells us: ‘So is it,’ – only when the Feeling has told us: ‘So must it be.’ “ [520W-{50-1/51} Opera and Drama: PW Vol. II, p. 208-209]