WAGNER'S TRISTAN UND ISOLDE ***
Tiffany Vergon, Charles Aldarondo, Cam Venezuela, and the Online Distributed Proofreading Team.
WAGNER'S "TRISTAN UND ISOLDE"
AN ESSAY ON THE WAGNERIAN DRAMA
BY GEORGE AINSLIE HIGHT
Passing the visions, passing the night, Passing, unloosing the hold of my comrade's hands, Passing the song of the hermit bird and the tallying song of my soul, Victorious song, death's outlet song, yet varying, ever-altering song, As low and wailing, yet clear the notes, rising and falling, flooding the night, Sadly sinking and fainting, as warning and warning, and yet again bursting with joy, Covering the earth and filling the spread of the heaven, As that powerful psalm in the night I heard from recesses.
_Walt Whitman._
PREFACE
The following pages contain little if anything that is new, or that would be likely to interest those who are already at home in Wagner's work. They are intended for those who are beginning the study of Wagner. In spite of many books, I know of no Wagner literature in English to which a beginner can turn who wishes to know what Wagner was aiming at, in what respect his works differ from those of the operatic composers who preceded him. Some sort of Introduction appears to me a necessary preliminary to the study of Wagner, not because his works are artificial or unnatural, but because our minds have become perverted by the highly artificial products of the Italian and French opera, so that a work of Wagner at first appears to us very much as _Paradise Lost_ or a tragedy of Sophokles would appear to a person who had never read anything but light French novels. He must entirely change the attitude of his mind, and the change, although it be a return to nature and truth, is not easy to make.
Those who wish fully to understand Wagner's aims must read his own published works. I have not attempted to give his views in a condensed form, being convinced that any such attempt could only end in failure. Whenever it has been made, the result has been a caricature; you cannot separate a man's work from his personality. All that I could do was to endeavour to lay some of the problems involved, as I conceive them, before the reader in my own words.
SAMER, PAS DE CALAIS, _May_, 1912.
CONTENTS
CHAPTER
I. ON WAGNER CRITICISM
II. WAGNER AS MAN
III. WAGNER'S THEORETICAL WRITINGS
IV. THE ROOTS OF GERMAN MUSIC
V. THE WAGNERIAN DRAMA AND ITS ANTECEDENTS
VI. THE EARLIER VERSIONS OF THE TRISTAN MYTH
VII. WAGNER'S CONCEPTION OF THE TRISTAN MYTHOS
VIII. ON CERTAIN OBJECTIONS TO THE WAGNERIAN DRAMA
IX. MUSIC AS AN ART OF EXPRESSION
X. SOME REMARKS ON THE MUSICAL DICTION OF "TRISTAN UND ISOLDE"
XI. OBSERVATIONS ON THE TEXT AND MUSIC
XII. OBSERVATIONS ON THE TEXT AND MUSIC CONTINUED
XIII. OBSERVATIONS ON THE TEXT AND MUSIC CONTINUED
XIV. CONCLUSION
APPENDIX
[Greek: Theohus d' ephame eleountas aemas sugchoreutas te kahi choraegohus aemin dedo¯ke'nai to'n te Ap'ollo¯a kahi Mousas kahi dhae kahi tri'ton ephamen, ei' memnaemetha, Dionuson.]
