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Updated: May 20, 2025
The only way of appealing to the public is by strong writing, powerful creations, and by the number of volumes given to the world." Theory-ridden Zola's polemical writings, like those of Richard Wagner's, must be set down to special pleading.
Fortunately for Philip, in his character of country reporter, the Mavick box was near the stage, and he could very well see what was going on in it, without wholly distracting his attention from Wagner's sometimes very dimly illuminated creation. There are faces and figures that compel universal attention and admiration. Commonly there is one woman in a theatre at whom all glances are leveled.
And when they have done that, they should procure a few of Wagner's later vocal scores and note the extremely ingenious manner in which he has made the peculiarities of German consonants subservient to his dramatic purposes. I refer especially to his use of alliteration the repetition of a consonant in the same or in consecutive lines.
So I sang the Abendstern to her under the cherry-tree, and its white shadow enveloped us both, making her face look very beautiful under it; and when I had finished singing we kissed each other and agreed that the world was a very delightful place as long as there was Wagner's music in it, and cherry-trees to sit under, and white bloom and stars and lips to kiss.
That is why all Wagner's efforts were concentrated upon the one object of discovering those means which best served the purpose of distinctness, and to this end it was above all necessary for him to emancipate himself from all the prejudices and claims of the old "mood" music, and to give his compositions the musical interpretations of feelings and passion a perfectly unequivocal mode of expression.
Melot is Tristan's friend, and the night hunt was arranged that the lovers might meet. They dispute to some of Wagner's loveliest melodies. The signal for Tristan is the extinguishing of the torch, and the music associated with this deed now is used again in the last act in another form.
He none too gently put Breede right in the matter of Wagner's batting average for the previous year and the price that had been paid for the new infielder. And Breede in spirit sat meekly at his feet, grateful for his lore. Of an absent player, Breede said he was too old all of thirty-five. He'd never come back.
Wagner's pugnacity and frequent ill-temper, for instance, arose simply from the fact that, while he was toiling night and day to compose immortal master-works, his contemporaries not only refused to contribute enough for his daily bread, but assailed him on all sides with malicious lying, stupid criticisms, with as much obvious enjoyment of this flaying alive of a genius as if they were a band of Indians torturing a prisoner of war.
In so far as they are invalid they rest upon misunderstandings which can easily be accounted for by Wagner's unparalleled originality, by the novelty of his art, necessarily involving a wide departure from the classic standards by which alone the critic can form his judgment. To comprehend his work we must give up many of those cherished canons which hitherto have passed unquestioned.
In both the domestic thunderer expresses himself in rough, strong language, and is only made the more furious by his wife's efforts to allay his fears. In Wagner's next scene Magister Humbrecht comes to woo Evchen, just as Schiller's Wurm comes to woo Louise, and we hear that the girl's head has been turned by reading novels.
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