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Updated: May 20, 2025
Continuing on for some time in the same way, I found myself growing weary, nodding my head slowly towards the oblivion of sleep, until I was brought to an instant liveliness by Wagner's announcement that we had reached our destination. I looked around carefully, yet I saw nothing at all to indicate the entrance to a large, covert military establishment, much to my companions delight.
Once the principle of organic unity is conceded as the first and most vital condition of a work of art, the rest of Wagner's doctrine follows directly.
No sane person would conceivably attempt to judge the personages of the Edda by a modern code of ethics; nor could any one with even a smattering of the details of Greek mythology affect to regard such a union as extraordinary, given the environment in which the characters of Wagner's drama move.
Of course, it lies in human nature, as stories which are hundreds if not thousands of years older attest; but I am trying, as I have been in preceding chapters in this book, to account for the presence of certain important elements in Wagner's opera, and so this poem must also be considered.
In his Reminiscences Mr. Conrad has told us, with the surface frankness of a Pole, the genesis of his literary début of Almayer's Folly, his first novel, and in a quite casual fashion throws fresh light on that somewhat enigmatic character reminding me in the juxtaposition of his newer psychologic procedure and the simple old tale, of Wagner's Venusberg ballet, scored after he had composed Tristan und Isolde.
Wagner's theory and practice need not be rehearsed here. It is sufficient for our purpose to recall the indisputable fact that in some of the greatest plays ever written, lyric forms have contributed richly and directly to the total dramatic effect. The Dramatic Monologue
The point would not be of any real importance did it not seem to lend colour to the absurd charge of licentiousness and sensuality which has so often been brought against Wagner. I have already remarked that an important difference between the old conception of the story and Wagner's lies in the fact that in the latter their love remains unsatisfied.
We will not pretend to say that "Die Walküre" will ever be whistled about the streets, as the airs from "Das Pinafore" are whistled; the fact is, that no rendition of "Die Walküre" can be satisfactory without the accompaniment of weird flashes of fire; and it is hardly to be expected that our youth will carry packages of lycopodium, and boxes of matches, around with them, for the sole purpose of giving the desired effect to any snatches from Herr Wagner's work they may take the notion to whistle.
And it was to put into execution the plan which she had devised to effect Wagner's freedom, that she was now arming herself with all the resolution, all the magnanimity, all the firmness with which her masculine soul was capable. The dial on the mantel in the chamber marked the hour of eleven; and Nisida commenced her preparations.
But even with this lesser theatrical reform, modern man would also be altered and reformed; for everything is so intimately related in this world, that he who removes even so small a thing as a rivet from the framework shatters and destroys the whole edifice. And what we here assert, with perhaps seeming exaggeration, of Wagner's activity would hold equally good of any other genuine reform.
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