/lit/ - Literature

>>23432909
Do you even realize the meaning of loneliness? The true meaning of loneliness? I am not talking about the one shown on screens or Netflix drama or soap operas...I am talking about "loneliness", a different kind of loneliness. Imagine you are Nietzsche for a second, walk through his shoes, see the world through his eyes...you will realize then what true "torture" is.

>>23284018
>A direct relation to morality has not as yet been generally ascribed to music. In fact music has even been judged as morally harmless. But that is just not so. Could an effeminate and frivolous taste remain without influence on a man’s morality? Both go hand in hand and act reciprocally upon each other. We could refer back to the Spartans, who forbade a certain type of music as injurious to morals. But instead, let us just think back to our own immediate past. With tolerable certainty we can state that those who have been inspired by Beethoven’s music have been more active and energetic citizens-of-state than those bewitched by Rossini, Bellini, and Donizetti, a class consisting for the most part of rich and lordly do-nothings.

>>23039793
Wagner never desired power or fame, and he got both and much more. He was the chosen prophet nobody followed.

>>21574907
Wagner tried to bring it back.

The two features of the Eddic line now mentioned — the variations in the length of the line and its free rhythm — undoubtedly served to recommend the Eddic metres to Wagner as a musician. In A Communication to my Friends he praises this method of versification “which, in keeping with true speech inflections, can be adapted to suit the most natural and lively rhythms; which is at all times readily capable of the most infinitely varied expression …” This is obviously a musician speaking.

When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

Was bist du, als meines Willens
blind wählende Kür?—

As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable. By means of the Stabreim, Wotan's words to his rebellious daughter here bring to a focal point certain crucial issues of the drama.
The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

wer—bin ich,
wär'ich dein Wille nicht?

Wagner is employing a highly stylized version of the old Germanic verse scheme of Stabreim, which is structured around internal alliteration. The affect is epic, the language abstract. The modernists paid heed: T. S. Eliot quotes the Rhinemaidens in The Waste Land, and Joyce has them swim in the river of Finnegans Wake.

O heilige Schmach! — O righteous shame!
O schmählicher Harm! — O shamefulsorrow!
Götternoth! — Gods’ distress!
Götternoth! — Gods’ distress!
Endloser Grimm! — Infinite rage!
Ewiger Gram! — Eternal grief!
Der Traurigste bin ich von Allen! — I am the saddest of all living things!

The alliterations of Stabreim here follow a subtler function, of a kind that Wagner discusses in Opera and Drama. When our ears detect consonant patterns—say, “heilig” (“holy/righteous”) and “Harm” (“sorrow”)—we recognize a bond between seemingly opposed emotions.

>It has done no harm to the development of the German spirit that poetry in the middle ages was nourished by the transcriptions of French courtly poetry: the inner depth of a Wolfram von Eschenbach created from the same substance, which in its original form we have preserved as a mere curiosity, eternal types of poetry.

>>19661680
True.

https://youtu.be/H8nzHVBXUxI?t=1598

>"The entire Renaissance, including its paintings, I declare to be a period of barbarism, in spite of all the great geniuses who were a part of it and based their art on it. How could this compare with the performance of an Aeschylus tragedy, which was a religious service?"
>The "plait"-church Domenico with the pillar of the saint disgusted him, "that's where the renaissance lead to"; I (Cosima) say, that the renaissance is as little to blame for it as Palestrina's music is to blame for the origin of the operatic aria, but he sticks to his opinion, Greek art had influenced the world long after its fall, but with this eagerness to do it beautifully, to avoid the harsh, one arrived at the rococo. There was something spoiled in the seed. People like Nietzsche, through the renaissance-man Burckhardt, even say it openly what they want: Erasmus, Petrarca, they are abhorrent to me.

Books with this view?

>introduced countless now-psychoanalytical themes into his operas such as incest, castration, mother-obsession and rebellion against the father
>publicly analysed the Oedipus myth before Freud was born in terms of its psychological significance, insisting that incestuous desires are natural and normal, and perceptively exhibiting the relationship between sexuality and anxiety.
>Freud 1897: "I recently had a remarkable and pleasurable experience in Die Meistersinger. The similarity between Breuer and H. Sachs became strikingly obvious to me thanks to the fact that he was also in the audience. The 'melody of the song interpreting the morning dream' struck a sympathetic cord in me, and I would like to have added 'Parnosse' to Paradise and Parnassus. In no other opera, by the way, are real thoughts set to music, emotive sounds which dwell in the mind."
>in proposing a death-drive as opposed to an eros-drive, and crediting Schopenhauer for it, Freud implicitly reinforces the influence Schopenhauer and Wagner as a pair had on his own thought and psychoanalysis at large

>>19604602
>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

>>19522053
>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

>>19407747
>it has done no harm to the development of the German spirit that poetry in the middle ages was nourished by the transcriptions of French courtly poetry: the inner depth of a Wolfram von Eschenbach created from the same substance, which in its original form we have preserved as a mere curiosity, eternal types of poetry.

>>19403458
>criticises the technological enframing of the world in the Ring
>displays the importance of the Lutheran tradition and dwelling in Meistersinger
>unites Hellenic mysticism and Christianity in Parsifal

>>19392444

>>19353281
>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

>>19315484
>A direct relation to morality has not as yet been generally ascribed to music. In fact music has even been judged as morally harmless. But that is just not so. Could an effeminate and frivolous taste remain without influence on a man’s morality? Both go hand in hand and act reciprocally upon each other. We could refer back to the Spartans, who forbade a certain type of music as injurious to morals. But instead, let us just think back to our own immediate past. With tolerable certainty we can state that those who have been inspired by Beethoven’s music have been more active and energetic citizens-of-state than those bewitched by Rossini, Bellini, and Donizetti, a class consisting for the most part of rich and lordly do-nothings.

>>19249473
How Wagner's Meistersinger libretto is the only good comic play ever written in German.

Is Wagner Romantic or Classical?

>>18999002
Wagner's trilogy A Pilgrimage to Beethoven, An End in Paris and A Happy Evening.

>>18946277
>Without embarking on an inquiry into the mystery just mooted, we yet must call to mind the distinction between the modern culture-poet and the naive poet of the ancient world. The latter was in the first place an inventor of Myths, then their word-of-mouth narrator in the Epos, and finally their personal performer in the living Drama. Plato was the first to adopt all three poetic forms for his "dialogues," so filled with dramatic life and so rich in myth-invention; and these scenes of his may be regarded as the foundation—nay, in the poet-philosopher's glorious "Symposium," the model unapproached—of strictly literary poetry, which always leans to the didactic. Here the forms of naive poetry are merely employed to set philosophic theses in a quasi-popular light, and conscious tendence takes the place of the directly-witnessed scene from life. To extend this "Tendence" to the acted drama, must have appeared to our great culture-poets the surest mode of elevating the existing popular play; and in this they may have been misled by certain features of the Antique Drama. The Tragedy of the Greeks having [139] evolved from a compromise between the Apollinian and the Dionysian elements, upon the basis of a system of Lyrics wellnigh past our understanding, the didactic hymn of the old-Hellenian priests could combine with the newer Dionysian dithyramb to produce that enthralling effect in which this artwork stands unrivalled. Now the fact of the Apollinian element in Greek Tragedy, regarded as a literary monument, having attracted to itself the principal notice in every age, and particularly of philosophers and didacts, may reasonably have betrayed our later poets—who also chiefly viewed these tragedies as literary products—into the opinion that in this didactic tendence lay the secret of the antique drama's dignity, and consequently into the belief that the existing popular drama was only to be raised and idealised by stamping it therewith. Their true artistic instinct saved them from sacrificing living Drama to Tendence bald and bare: but what was to put soul into this Drama, to lift it on the cothurnus of ideality, they deemed could only be the purposed elevation of its tendence; and that the more, as their sole disposable material, namely Word-speech, the vehicle of notions (Begriffe), seemed to exclude the feasibility, or even the advisability, of an ennoblement and heightening of expression on any side but this.

>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.

>When Brunnhilde argues with her master in Die Walküre II.ii, Wotan makes an angry attempt to silence her:

>Was bist du, als meines Willens
>blind wählende Kür?—

>The phrasing and rhetoric of Wotan's question echo Brunnhilde's earlier plea:

>wer—bin ich,
>wär'ich dein Wille nicht?

Does this even work?

>>18740989
>AFTER recognising the necessity of a regeneration of the human race, if we follow up the possibilities of its ennoblement we light on little else than obstacles. [...] We cannot withhold our acknowledgment that the human family consists of irremediably disparate races, whereof the noblest well might rule the more ignoble, yet never raise them to their level by commixture, but simply sink to theirs. Indeed this one relation might suffice to explain our fall; even its cheerlessness should not blind us to it: if it is reasonable to assume that the dissolution of our earthly globe is purely a question of time, we probably shall have to accustom ourselves to the idea of the human species dying out. On the other hand there is such a matter as life beyond all time and space, and the question whether the world has a moral meaning we here will try to answer by asking ourselves if we mean to go to ground as beasts or gods.

Höchsten Heiles Wunder!
Erlösung dem Erlöser!