/lit/ - Literature

>>23470831
Marx ruined Young Hegelianism by turning the search for eternal truth, beauty and nature into bourgeois concepts. Wagner is the true heir to Feuerbach and only art can guide the future revolution.

>The line my fancy followed was an organisation of public life in common, as also of domestic life, such as must lead of itself to a beauteous fashioning of the human race. The calculations of the newer Socialists therefore lost my sympathy from the moment they seemed to end in systems that took at first the repellent aspect of an organisation of Society for no other purpose but an equally-allotted toil. However, after sharing the horror which this aspect kindled in aesthetically-cultured minds, a deeper glance into the proposed condition of society made me believe I detected something very different from what had hovered before the fancy of those calculating Socialists themselves. I found to wit that, when equally divided among all, actual labour, wit hits crippling burthen and fatigue, would be downright done away with, leaving nothing in its stead but an occupation, which necessarily must assume an artistic character of itself. A clue to the character of this occupation, as substitute for actual labour, was offered me by Husbandry, among other things; this, when plied by every member of the commonalty [or "parish"—Gemeinde], I conceived as partly developed into more productive tillage of the Garden, partly into joint observances for times and seasons of the day and year, which, looked at closer, would take the character of strengthening exercises, ay, of recreations and festivities. Whilst trying to work out all the bearings of this transformation of one-sided labour, with its castes in town and country, into a more universal occupation lying at the door of every man, I became conscious on the other hand that I was meditating nothing so intensely new, but merely pursuing problems akin to those which so dearly had busied our greatest poets themselves, as we may see in "Wilhelm Meister's Wanderjahre." I, too, was therefore picturing to myself a world that I deemed possible, but the purer I imagined it, the more it parted company with the reality of the political tendencies-of-the-day around me; so that I could say to myself, my world will never make its entry until the very moment when the present world has ceased—in other words, where Socialists and Politicians came to end, should we commence.

>>23284472
>All in the long run is done with; even Voltaire’s Tragedie could not hold on, and the thing capsized. What has Science not pinned its faith to, and not so very long ago, that to-day lies on the dust-heap? The contrary with works of Art; alter, transform your views and sciences as ye will – there still stands Shakespeare, there Goethe’s Faust, there the Beethoven Symphony, with undiminished power!

>Physics etc. bring truths to light against which there is nothing to say, but which also say nothing to us.

>The most crying proof how little the sciences help us, is that the Copernican system has not yet dislodged dear God from heaven, for the great majority of men: here an attempt might haply be made from some other side, to which the God Within might lend his aid! To Him, however, it is quite indifferent how the Church may fret about Copernicus.

>>22987470
Marx ruined Young Hegelianism by turning the search for eternal truth, beauty and nature into bourgeois concepts. Wagner is the true heir to Feuerbach and only art can guide the future revolution.

>The line my fancy followed was an organisation of public life in common, as also of domestic life, such as must lead of itself to a beauteous fashioning of the human race. The calculations of the newer Socialists therefore lost my sympathy from the moment they seemed to end in systems that took at first the repellent aspect of an organisation of Society for no other purpose but an equally-allotted toil. However, after sharing the horror which this aspect kindled in aesthetically-cultured minds, a deeper glance into the proposed condition of society made me believe I detected something very different from what had hovered before the fancy of those calculating Socialists themselves. I found to wit that, when equally divided among all, actual labour, wit hits crippling burthen and fatigue, would be downright done away with, leaving nothing in its stead but an occupation, which necessarily must assume an artistic character of itself. A clue to the character of this occupation, as substitute for actual labour, was offered me by Husbandry, among other things; this, when plied by every member of the commonalty [or "parish"—Gemeinde], I conceived as partly developed into more productive tillage of the Garden, partly into joint observances for times and seasons of the day and year, which, looked at closer, would take the character of strengthening exercises, ay, of recreations and festivities. Whilst trying to work out all the bearings of this transformation of one-sided labour, with its castes in town and country, into a more universal occupation lying at the door of every man, I became conscious on the other hand that I was meditating nothing so intensely new, but merely pursuing problems akin to those which so dearly had busied our greatest poets themselves, as we may see in "Wilhelm Meister's Wanderjahre." I, too, was therefore picturing to myself a world that I deemed possible, but the purer I imagined it, the more it parted company with the reality of the political tendencies-of-the-day around me; so that I could say to myself, my world will never make its entry until the very moment when the present world has ceased—in other words, where Socialists and Politicians came to end, should we commence.

>>22789120
Over coffee R. spoke to Herr v. W. about what he said in his essays concerning the disconsolate metaphysics of Schopenhauer; “What greater consolation can there be than to tell people that this existence is a trivial one? We can then feel inside ourselves hope for another existence, which we cannot in any way visualize and about which nothing can be said, but the feeling alone enables us to enjoy it.”

>>22168118
Lenbach, the most prominent portraitist of the Wilhelmine period, painted a series of portraits of Wagner.

>>21992153
>>21992669
*proves there is a God*

https://www.youtube.com/watch?v=Ciq9Sefqun8

>>21880409
You need a soundtrack?

https://www.youtube.com/watch?v=JeJ0zqMyGNA

>All these lyric poets make glosses on things which are not there; the true poet is seen in the characters he creates, a Faust, an Egmont, etc.

>>21003457
>All in the long run is done with; even Voltaire’s Tragedie could not hold on, and the thing capsized. What has Science not pinned its faith to, and not so very long ago, that to-day lies on the dust-heap? The contrary with works of Art; alter, transform your views and sciences as ye will – there still stands Shakespeare, there Goethe’s Faust, there the Beethoven Symphony, with undiminished power!

>Physics etc. bring truths to light against which there is nothing to say, but which also say nothing to us.

>The most crying proof how little the sciences help us, is that the Copernican system has not yet dislodged dear God from heaven, for the great majority of men: here an attempt might haply be made from some other side, to which the God Within might lend his aid! To Him, however, it is quite indifferent how the Church may fret about Copernicus.

>>20592058
>The most crying proof how little the sciences help us, is that the Copernican system has not yet dislodged dear God from heaven, for the great majority of men: here an attempt might haply be made from some other side, to which the God Within might lend his aid! To Him, however, it is quite indifferent how the Church may fret about Copernicus.

>>20574643
>All in the long run is done with; even Voltaire’s Tragedie could not hold on, and the thing capsized. What has Science not pinned its faith to, and not so very long ago, that to-day lies on the dust-heap? The contrary with works of Art; alter, transform your views and sciences as ye will – there still stands Shakespeare, there Goethe’s Faust, there the Beethoven Symphony, with undiminished power!

>Physics etc. bring truths to light against which there is nothing to say, but which also say nothing to us.

>The most crying proof how little the sciences help us, is that the Copernican system has not yet dislodged dear God from heaven, for the great majority of men: here an attempt might haply be made from some other side, to which the God Within might lend his aid! To Him, however, it is quite indifferent how the Church may fret about Copernicus.

>>20562844
Wagner. Whose Tristan and Ring inspired Mishima's Patriotism and Sea of Fertility along similar lines.

>The free Greek, who set himself upon the pinnacle of Nature, could procreate Art from very joy in manhood: the Christian, who impartially cast aside both Nature and himself; could only sacrifice to his God on the altar of renunciation; he durst not bring his actions or his work as offering, but believed that he must seek His favour by abstinence from all self−prompted venture. Art is the highest expression of activity of a race that has developed its physical beauty in unison with itself and Nature; and man must reap the highest joy from the world of sense, before he can mould therefrom the implements of his art; for from the world of sense alone, can he derive so much as the impulse to artistic creation.
>Hand−in−hand with the dissolution of the Athenian State, marched the downfall of Tragedy. As the spirit of Community split itself along a thousand lines of egoistic cleavage, so was the great united work of Tragedy disintegrated into its individual factors. Above the ruins of tragic art was heard the cry of the mad laughter of Aristophanes, the maker of comedies; and, at the bitter end, every impulse of Art stood still before Philosophy, who read with gloomy mien her homilies upon the fleeting stay of human strength and beauty.
>Art is Beauty energised.

>>20554567
Only authors with interesting lives should be read.

>>20539631
If neither the Greeks at their prime, nor any later great nation of culture, such as the Italians and Spaniards, could win from passing incidents the matter for an epic story, to you moderns this will presumably come a trifle harder: for the events they witnessed, at least were real phenomena; whilst ye, in all that rules, surrounds and dwells in you, can witness naught but masquerades tricked out with rags of culture from the wardrobe-shop and tags from the historical marine-store. The seer's eye for the ne'er-experienced the gods have always lent to none but their believers, as ye may ascertain from Homer or Dante. But ye have neither faith nor godliness.

>>20534563
>All in the long run is done with; even Voltaire’s Tragedie could not hold on, and the thing capsized. What has Science not pinned its faith to, and not so very long ago, that to-day lies on the dust-heap? The contrary with works of Art; alter, transform your views and sciences as ye will – there still stands Shakespeare, there Goethe’s Faust, there the Beethoven Symphony, with undiminished power!

>Physics etc. bring truths to light against which there is nothing to say, but which also say nothing to us.

>The most crying proof how little the sciences help us, is that the Copernican system has not yet dislodged dear God from heaven, for the great majority of men: here an attempt might haply be made from some other side, to which the God Within might lend his aid! To Him, however, it is quite indifferent how the Church may fret about Copernicus.

>>20454892
Hans Sachs, Wotan, Siegfried, Kundry etc.

>>20056709
>"Whoso would seize the wondrous individuality, the strength and meaning of the German spirit in one incomparably speaking image, let him cast a searching glance upon the else so puzzling, wellnigh unaccountable figure of Music's wonder-man Sebastian Bach. He is the history of the German spirit's inmost life throughout the gruesome century of the German Folk's complete extinction. See there that head, insanely muffled in the French full-bottomed wig; behold that master, a wretched organist and cantor, slinking from one Thuringian parish to another, puny places scarcely known to us by name; see him so unheeded, that it required a whole century to drag his works from oblivion; finding even Music pinioned in an art-form the very effigy of his age, dry, stiff, pedantic, like wig and pigtail set to notes: then see what a world the unfathomably great Sebastian built from out these elements! I merely point to that Creation; for it is impossible to denote its wealth, its sublimity, its all-embracing import, through any manner of comparison."
>Again, of Beethoven and Mozart Wagner said: “As far as fugues are concerned, these gentlemen can hide their heads before Bach. They played with the form, wanted to show they could do it too, but he showed us the soul of the fugue. He could not do otherwise than write in fugues.”

https://www.youtube.com/watch?v=gXnRl6VHzjI
https://www.youtube.com/watch?v=1Y2IBBgGbZs

>>19787256
>Franz von Lenbach, the reigning portraitist of Wilhelmine Germany, fashioned what became a more or less official image: head in profile, eyes fixed in the distance, nose and chin cutting into gray space, a large beret leaning to the side. The Rembrandtesque contrast of light and shadow, which also appears in Lenbach’s portraits of the German Kaisers, the Austrian emperor Franz Joseph, and Bismarck, creates an Old Master ambience. As the Wagner scholar John Deathridge has observed, the donning of a beret itself has a political slant. Martin Luther wears one in a portrait from the workshop of Cranach the Elder, as does the real-life Hans Sachs in a sixteenth-century engraving. During the Napoleonic Wars, German freethinkers took to wearing berets as an expression of national identity. Wagner took up the trend around 1867, just as he was falling in line with the drive toward unification. He was consciously assuming a symbolic role.

>Franz von Lenbach, the reigning portraitist of Wilhelmine Germany, fashioned what became a more or less official image: head in profile, eyes fixed in the distance, nose and chin cutting into gray space, a large beret leaning to the side. The Rembrandtesque contrast of light and shadow, which also appears in Lenbach’s portraits of the German Kaisers, the Austrian emperor Franz Joseph, and Bismarck, creates an Old Master ambience. As the Wagner scholar John Deathridge has observed, the donning of a beret itself has a political slant. Martin Luther wears one in a portrait from the workshop of Cranach the Elder, as does the real-life Hans Sachs in a sixteenth-century engraving. During the Napoleonic Wars, German freethinkers took to wearing berets as an expression of national identity. Wagner took up the trend around 1867, just as he was falling in line with the drive toward unification. He was consciously assuming a symbolic role.

/hat general/

>Franz von Lenbach, the reigning portraitist of Wilhelmine Germany, fashioned what became a more or less official image: head in profile, eyes fixed in the distance, nose and chin cutting into gray space, a large beret leaning to the side. The Rembrandtesque contrast of light and shadow, which also appears in Lenbach’s portraits of the German Kaisers, the Austrian emperor Franz Joseph, and Bismarck, creates an Old Master ambience. As the Wagner scholar John Deathridge has observed, the donning of a beret itself has a political slant. Martin Luther wears one in a portrait from the workshop of Cranach the Elder, as does the real-life Hans Sachs in a sixteenth-century engraving. During the Napoleonic Wars, German freethinkers took to wearing berets as an expression of national identity. Wagner took up the trend around 1867, just as he was falling in line with the drive toward unification. He was consciously assuming a symbolic role.

>>19452355
Nice bait Op.

>>19445960
>German poetry, German music, German philosophy, are nowadays esteemed and honoured by every nation in the world: but in his yearning after "German glory" the German, as a rule, can dream of nothing but a sort of resurrection of the Romish Kaiser-Reich, and the thought inspires the most good-tempered German with an unmistakable lust of mastery, a longing for the upper hand over other nations.

>In the great universal Art−work of the Future there will ever be fresh regions to discover; but not in the separate branch of art
What did he have against the individual arts?