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Updated: June 22, 2025
A young violinist in corporal's stripes lifted the crowd to its feet with the slow movement of the Tschaikowsky concerto; the band itself began with Wagner's "Siegfried Idyl" and ended with Strauss's "Rosen aus dem Süden," a superb waltz, magnificently performed. Three hours of first-rate music for 7-1/5 cents! An inviting and appetizing spot, believe me. A place to stretch your legs.
Even as this new rush of determination swept over me, above us there sounded clearly the dashing music of a military band in the strains of a Strauss's waltz, and we could distinguish the muffled shuffling of many feet on the oaken floor overhead. Caton's chance remark about the great ball to be given that evening by officers of the headquarters staff recurred to my memory.
And, viewed in this light, how does Strauss's claim to originality appear? But, as we have already observed, it would be a matter of indifference to us whether it were new, old, original, or imitated, so that it were only more powerful, more healthy, and more natural.
And then and there Peggy answered, "I won't, I won't, you dear Tilly; I won't say another thing about it, and we won't think about it " And then and there "Tum, tum, ti tum" burst forth the band in Strauss's "Morgen Blaetter" waltzes. "Oh, how I love the 'Morgen Blaetter!" cried Peggy. "Come, let us get into the dancing-hall as soon as possible. Where's auntie?
As a proof of this, let any one try to translate Strauss's style into Latin: in the case of Kant, be it remembered, this is possible, while with Schopenhauer it even becomes an agreeable exercise. The reason why this test fails with Strauss's German is not owing to the fact that it is more Teutonic than theirs, but because his is distorted and illogical, whereas theirs is lofty and simple.
Passing over this simile as bad, let us turn our attention to another of Strauss's artifices, whereby he tries to ascertain how he feels disposed towards the universe; this question of Marguerite's, "He loves me loves me not loves me?" hanging on his lips the while.
No doubt, in so doing it weakens the odor exuded by Wilde's play. But if we must have an operatic "Salome," it is but reasonable to demand that the composer in his music express the sexual cruelty and frenzy symbolized in the figure of the dancer. And the Salome of Strauss's score is as little the Salome of Wilde as she is the Salome of Flaubert or Beardsley or Moreau or Huysmans.
Paul, he has found himself utterly unable to resist. Here then, we might almost pause. Strauss admits that our Lord died upon the Cross. Yet can the reader help feeling that the vindication of the reality of our Lord's reappearances, and the refutation of Strauss's theories with which this work opened, was triumphant and conclusive? Then what follows? That Christ died and rose again!
And the proofs of revelation, and even of the existence of God? What human faculty was capable of deciding upon such enormous questions? And would not the logical result be a condition of universal doubt? Arnold's orthodoxy Dr. Arnold, whose piety was universally recognised Dr. Arnold, who had held up to scorn and execration Strauss's Leben Jesu without reading it.
But the oddest sign of the Times I know, is a cheap Translation of Strauss's Leben Jesu, now publishing in numbers, and said to be circulating far and wide. What does or rather, what does not this portend?"
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