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Updated: June 22, 2025
Strauss maintains that the appearances were unconsciously antedated by Peter; we can only say that the circumstances of the case, as entered into more fully above, render this very improbable; that if Peter told Paul that he saw Christ on the third day after the Crucifixion, he probably firmly believed that he did see Him; and that if he believed this, he was also probably right in so believing.
Strauss says, in the previously-mentioned work: "If, under certain conditions, motion is transformed into heat, why may it not, under other conditions, be transformed into sensation?"
Ross pulled out his field glass, and, kneeling up in the deep bracken, focussed the crowds in turn. It was now past noon. From the lawn facing the house the strains of a Strauss valse, played by an excellent band, floated up to where we knelt, though the racket of the steam organs clashed with it to some extent. Slowly the time crept on. Longer and longer grew the approaching queue of cars.
"A model young man, one may say," remarked Gedeonovsky. Varvara Pavlovna suddenly began to play a noisy waltz by Strauss, beginning with so loud and quick a trill that Gedeonovsky fairly started. Right in the middle of the waltz she passed abruptly into a plaintive air, and ended with the Fra poco out of Lucia. She had suddenly remembered that joyful music was not in keeping with her position.
Finally, the "New Life of Jesus," by Strauss, adopting and utilizing the principal discoveries of Baur and his followers, and combining all into one grand historical picture, worthily completes the task which the earlier work of the same author had inaugurated.
One could search the music of Strauss, Mahler, or Hugo Wolf, without finding a melody of any real value, or of any true originality, outside its application to a text, or a literary idea, and its harmonic development.
She communicated her vision to the others, and by a sort of nervous contagion, they, too, fell to seeing visions, and it is the report of these that we have in the gospels. The vision-hypothesis takes with some, Strauss for instance, a different form. These deny that the tomb was found empty at all, and regard this story as a contribution of the later legend-making spirit.
But its quantity has a serious effect on its quality, "inverse ratio" is a good formula to adopt here. Comedy has its part, but wit never. Strauss is at his best in these lower rooms, but his comedy reminds us more of the physical fun of Lever rather than "comedy in the Meredithian sense" as Mason suggests.
In Strauss's confession-book we find liberal tribute paid to modern metaphor. In this really highly modern way, Strauss has met the Philistine injunction to the effect that a new simile must be introduced from time to time.
In regard to the aversion to miracles, he stands on the same ground with Strauss and Lang; in protesting against Strauss' elimination of the idea of design, and especially in demanding a moral order of the world, he is still more energetic than Lang.
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