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Updated: May 9, 2025
Already in the early nineteenth century Shelley, with no scrap of alternative, is denouncing the established rulers of the world as Anarchs, and the entire system of ideas and suggestions that was known as Socialism, and more particularly its international side, feeble as it was in creative proposals or any method of transition, still witnesses to the growth of a conception of a modernised system of inter-relationships that should supplant the existing tangle of proprietary legal ideas.
His music is evidently wanting in boldness. On the whole it is cautious and traditional. Even those who are not professionally on the side of the musical anarchs find it somewhat unventuresome, too smooth and soft and elegantly elegiac, too dull.
Each chap has started a little revolution of his own, and takes no heed of the very men from whom he steals his thunder, now sadly hollow in the transposition. The pretty classic notion of the torch of artistic tradition gently burning as it is passed on from generation to generation receives a shock when confronted by the methods of the hopeful young anarchs of the Grand Palais.
Shelley, in his "Ode to Naples," full of the enthusiasm excited by the intelligence of the proclamation of a Constitutional Government at Naples, in 1820, thus uses an allusion to the basilisk: "What though Cimmerian anarchs dare blaspheme Freedom and thee? a new Actaeon's error Shall theirs have been, devoured by their own hounds!
Shelley, in his Ode to Naples, full of the enthusiasm excited by the intelligence of the proclamation of a Constitutional Government at Naples, in 1820, thus uses an allusion to the basilisk: "What though Cimmerian anarchs dare blaspheme Freedom and thee? A new Actaeon's error Shall theirs have been, devoured by their own bounds!
If they were as many armed as Briareus or the octopus, their charity would be known to each and every hand on their arms. These sentimental anarchs! They even marry our girls and carry them off to coddle their conscience with gilded gingerbread.
Remember the monstrous fuss made over the methods of Richard Strauss and Claude Debussy. I shouldn't be surprised if ten years hence Arnold Schoenberg proves quite as conventional a member of musical society as those other two "anarchs of art." A very deceptive mask is literature.
To think at all about certain questions was an act of rebellion that set one oscillating between the furtive and the defiant. People begin to find Shelley for all his melody noisy and ill conditioned now because his Anarchs have vanished, yet there was a time when novel thought HAD to go to that tune of breaking glass.
Two anarchs of music, Richard Strauss and Arnold Schoenberg, reached their goals after marching successfully through the established forms: and the prose versicles of Walt Whitman were achieved only after he had practised the ordinary rules of prosody.
Shelley, in his "Ode to Naples," full of the enthusiasm excited by the intelligence of the proclamation of a Constitutional Government at Naples, in 1820, thus uses an allusion to the basilisk: "What though Cimmerian anarchs dare blaspheme Freedom and thee? a new Actaeon's error Shall theirs have been, devoured by their own hounds!
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