/lit/ - Literature

>>22816727
Pic related. I've never even heard of anyone getting through the whole thing.

>>22075090
Pic related. Has to be one of the greatest studies of the nature of drama ever written. And the clarity of method in the aesthetic criticism, if not in the prose, changed how I viewed art totally. But it would be much easier to understand if you first read the two preceding Zurich writings, Art and Revolution and The Artwork of the Future, to introduce you to his sensibilities and orientation, as well as later writings like German Art and German Policy, Beethoven, The Destiny of Opera, Actors and Singers etc. which build on and clarify the ideas in it.

My bible.

>>21256493

>TONE-SPEECH is the beginning and end of Word-speech: as the Feeling is beginning and end of the Understanding, as Mythos is beginning and end of History, the Lyric beginning and end of Poetry. The mediator between beginning and middle, as between the latter and the point of exit, is the Phantasy.
>The march of this evolution is such, however, that it is no retrogression, but a progress to the winning of the highest human faculty; and it is travelled, not merely by Mankind in general, but substantially by every social Individual.
>Just as in the unconscious Feeling lie all the germs for evolution of the Understanding, while this latter holds within it a necessitation to vindicate the unconscious feeling, and the man who from out his >Understanding vindicates this Feeling is first the man of Vernunft; just as in Mythos justified by History, which alike grew out of it, is first won a really intelligible image of Life: so does the Lyric also hold within itself each germ of the intrinsic art of Poetry, which necessarily can but end with speaking out the vindication of the Lyric; and this work of vindication is precisely the highest human Artwork, the Entire Drama (das vollkommene Drama).

>TONE-SPEECH is the beginning and end of Word-speech: as the Feeling is beginning and end of the Understanding, as Mythos is beginning and end of History, the Lyric beginning and end of Poetry. The mediator between beginning and middle, as between the latter and the point of exit, is the Phantasy.
The march of this evolution is such, however, that it is no retrogression, but a progress to the winning of the highest human faculty; and it is travelled, not merely by Mankind in general, but substantially by every social Individual.
>Just as in the unconscious Feeling lie all the germs for evolution of the Understanding, while this latter holds within it a necessitation to vindicate the unconscious feeling, and the man who from out his >Understanding vindicates this Feeling is first the man of Vernunft; just as in Mythos justified by History, which alike grew out of it, is first won a really intelligible image of Life: so does the Lyric also hold within itself each germ of the intrinsic art of Poetry, which necessarily can but end with speaking out the vindication of the Lyric; and this work of vindication is precisely the highest human Artwork, the Entire Drama (das vollkommene Drama).

>>20550437

>>19961088

>>19894417
If you're schizo enough you can try to read Opera and Drama.

>>19693998

What did Wagner mean by this? I'm so confused and being filtered by it.

>Wherefore that Melody which remained conscious of her aptitude for infinite emotional-expression,—acquired on Music's own domain,—paid no heed at all to the sensuous setting of the Word-verse, since it must grievously affect her shaping from her own resources. She [250] chose instead the task of announcing herself, entirely for herself as independent vocal-melody, in an expression which rendered the emotional-content of the words according to its broadest generality; and indeed in a specifically musical setting, toward which the word-verse merely held the position of the explanatory label beneath a painting.

>Where the melody did not go so far as to cast away the Content of the verse, and employ the vowels and consonants of its syllables as a mere material for the singer's mouth to chew, there the connecting bond between the verse and melody remained the speaking accent.—Gluck's endeavour, as I have already mentioned, was only directed to gaining from the speaking accent a vindication for the melodic accent, which before his time had been mostly wayward as regards the verse. If, however, in his sole concern for a melodically-strengthened but otherwise faithful reproduction of the natural speaking-expression, the musician held to the rhetorical accent as the only thing that could afford a natural and intelligible bond between the talk and the melody,—then he had at like time to completely upset the verse: for he had to lift out of it the Accent, as the only thing to be dwelt on, and must let fall all the other intonations, whether of an imaginary prosodic 'quantity' or of the end-rhyme....

CONT.