/lit/ - Literature

[Anonymous No.15869598]

Why do people ignore Mendelssohn? What book do you recommend from this beautiful man?

[Anonymous No.15869616]

It's a shame the Western World tries to erase Haskalah

[Anonymous No.15869726]

>>15869598
He was a jew. That said, Wagner was friends with him, and his music is good.

[Anonymous No.15869786]

>>15869616
Don't you mean the Jewish world tries to erase its only attempt at assimilation?

[Anonymous No.15869904]

>>15869786
Jews have already assimiliated

[Anonymous No.15869930]

>>15869904
HAHAH they have fake assimilated to make it easier to mess with the goy.

[Anonymous No.15870078]

Jewish philosophy is like feminist philosophy. It's just >>>>LOOK AT ME<<<<< philosophy and only idiots read it

[Anonymous No.15870111]

Nigga look like a hobbit

[Anonymous No.15870280]

>>15869598
Mmmmmmmmmmmmm... Moses

Mmmmmmmmmmmmm... Mendelssohn

[Anonymous No.15870347]

>>15869726
Imagine confusing the grandfather, first rate philosopher and regular correspondent of Kant with the grandson. And Wagner is one of the reasons Mendelssohn fell into obscurity in the first place. He got angry because he gifted the score of his youth symphony in C to Mendelssohn and Mendelssohn lost it. Wagner was convinced it was a deliberate attempt to suppress his symphonic genius (the C symphony is uninspired Beethoven Symphony 7 pastiche btw) and made it his life mission to destroy (among many others) Felix's reputation after his death.

[Anonymous No.15870458]

>>15869598
>Mendelssohn
By what example will this all grow clearer to us—ay, wellnigh what other single case could make us so alive to it, as the works of a musician of Jewish birth whom Nature had endowed with specific musical gifts as very few before him? All that offered itself to our gaze, in the inquiry into our antipathy against the Jewish nature; all the contradictoriness of this nature, both in itself and as touching us; all its inability, while outside our footing, to have intercourse with us upon that footing, nay, even to form a wish to further develop the things which had sprung from out our soil: all these are intensified to a positively tragic conflict in the nature, life, and art-career of the early-taken FELIX MENDELSSOHN BARTHOLDY. He has shewn us that a Jew may have the amplest store of specific talents, may own the finest and most varied culture, the highest and the tenderest sense of honour—yet without all these pre-eminences helping him, were it but one single time, to call forth in us that deep, that heart-searching effect which we await from Art because we know her capable thereof, because we have felt it many a time and oft, so soon as once a hero of our art has, so to say, but opened his mouth to speak to us. To professional critics, who haply have reached a like consciousness with ourselves hereon, it may be left to prove by specimens of Mendelssohn's art-products our statement of this indubitably certain thing; by way of illustrating our general impression, let us here be content with the fact that, in hearing a tone-piece of this composer's, we have only been able to feel engrossed where nothing beyond our more or less amusement-craving Phantasy was roused through the presentment, stringing-together and entanglement of the most elegant, the smoothest and most polished figures—as in the kaleidoscope's changeful play of form and colour —but never where those figures were meant to take the shape of deep and stalwart feelings of the human heart. In this latter event Mendelssohn lost even all formal productive-faculty; wherefore in particular where he made for Drama, as in the Oratorio, he was obliged quite openly to snatch at every formal detail that had served as characteristic token of the individuality of this or that forerunner whom he chose out for his model. It is further significant of this procedure, that he gave the preference to our old master BACH, as special pattern for his inexpressive modern tongue to copy.

https://www.youtube.com/watch?v=LN1WLF8T_Oc
https://youtu.be/y4x6OiHe3AU?t=25

[Anonymous No.15870462]

>>15870458
Bach's musical speech was formed at a period of our history when Music s universal tongue was still striving for the faculty of more individual, more unequivocal Expression: pure formalism and pedantry still clung so strongly to her, that it was first through the gigantic force of Bach's own genius that her purely human accents (Ausdruck) broke themselves a vent. The speech of Bach stands toward that of Mozart, and finally of Beethoven, in the relation of the Egyptian Sphinx to the Greek statue of a Man: as the human visage of the Sphinx is in the act of striving outward from the animal body, so strives Bach's noble human head from out t he periwig. It is only another evidence of the inconceivablywitless confusion of our luxurious music-taste of nowadays, that we can let Bach's language be spoken to us at the selfsame time as that of Beethoven, and flatter ourselves that there is merely an individual difference of form between them, but nowise a real historic distinction, marking off a period in our culture. The reason, however, is not so far to seek: the speech of Beethoven can be spoken only by a whole, entire, warm-breathed human being; since it was just the speech of a music-man so perfect, that with the force of Necessity he thrust beyond Absolute Music—whose dominion he had measured and fulfilled unto its utmost frontiers—and shewed to us the pathway to the fecundation of every art through Music, as her only salutary broadening. On the other hand, Bach's language can be mimicked, at a pinch, by any musician who thoroughly understands his business, though scarcely in the sense of Bach; because the Formal has still therein the upper hand, and the purely human Expression is not as yet a factor so definitely preponderant that its What either can, or must be uttered without conditions, for it still is fully occupied with shaping out the How. The washiness and whimsicality of our present musical style has been, if not exactly brought about, yet pushed to its utmost pitch by Mendelssohn's endeavour to speak out a vague, an almost nugatory Content as interestingly and spiritedly as possible. Whereas Beethoven, the last in the chain of our true music-heroes, strove with highest longing, and wonder-working faculty, for the clearest, certainest Expression of an unsayable Content through a sharp-cut, plastic shaping of his tone-pictures: Mendelssohn, on the contrary, reduces these achievements to vague, fantastic shadow-forms, midst whose indefiniteshimmer our freakish fancy is indeed aroused, but our inner, purely-human yearning fordistinct artistic sight is hardly touched with even the merest hope of a fulfilment.

[Anonymous No.15870464]

>>15870111
/thread

[Anonymous No.15870468]

>>15870462
Only where an oppressive feeling of this incapacity seems to master the composer's mood, and drive him to express a soft and mournful resignation, has Mendelssohn the power to shew himself characteristic—characteristic in the subjective sense of a gentle individuality that confesses an impossibility in view of its own powerlessness. This, as we have said, is the tragic trait in Mendelssohn's life-history; and if in the domain of Art we are to give our sympathy to the sheer personality, we can scarcely deny a large measure thereof to Mendelssohn, even though the force of that sympathy be weakened by the reflection that the Tragic, in Mendelssohn's situation, hung rather over him than came to actual, sore and cleansing consciousness.

[Anonymous No.15870477]

>>15869598
he has an h before an n in his name, therefore he is weird and people dont want to read him because of it.

[Anonymous No.15870478]

>>15870464
Hello my fellow Aryan, could you by any chance do me a favour of deleting your post to allow the connection of my tiresome effort?

[Anonymous No.15870542]

>>15869598
>>15869616
It will not be a question, however, of saying something new, but of explaining that unconscious feeling which proclaims itself among the people as a rooted dislike of the Jewish nature thus, of speaking out a something really existent, and by no means of attempting to artfully breathe life into an unreality through the force of any sort of fancy. Criticism goes against its very essence, if, in attack or defence, it tries for anything else.

Since it here is merely in respect of Art, and specially of Music, that we want to explain to ourselves the popular dislike of the Jewish nature, even at the present day, we may completely pass over any dealing with this same phenomenon in the field of Religion and Politics. In Religion the Jews have long ceased to be our hated foes,—thanks to all those who within the Christian religion itself have drawn upon themselves the people's hatred. In pure Politics we have never come to actual conflict with the Jews; we have even granted them the erection of a Jerusalemitic realm, and in this respect we have rather had to regret that Herr v. Rothschild was too keen-witted to make himself King of the Jews, preferring, as is well known, to remain "the Jew of the Kings." It is another matter, where politics become a question of Society: here the isolation of the Jews has been held by us a challenge to the exercise of human justice, for just so long as in ourselves the thrust toward social liberation has woken into plainer consciousness. When we strove for emancipation of the Jews, however, we virtually were more the champions of an abstract principle, than of a concrete case: just as all our Liberalism was a not very lucid mental sport —since we went for freedom of the Folk without knowledge of that Folk itself, nay, with a dislike of any genuine contact with it—so our eagerness to level up the rights of Jews was far rather stimulated by a general idea, than by any real sympathy; for, with all our speaking and writing in favour of the Jews' emancipation, we always felt instinctively repelled by any actual, operative contact with them.

Here, then, we touch the point that brings us closer to our main inquiry: we have to explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews, so as to vindicate that instinctive dislike which we plainly recognise as stronger and more overpowering than our conscious zeal to rid ourselves thereof.

[Anonymous No.15870549]

>>15870464
>>15870478
I thank you good man, you are truly a championer of the Aryan.

[Anonymous No.15870620]

>>15870347
Sounds like made up legends for youtube and r*ddit "thinkers" to make memes about

[Anonymous No.15870646]

>>15870458
not gonna read that

[Anonymous No.15870647]

>>15869904
Bullshit, read Israel Shahak and get redpilled

[Anonymous No.15870656]

>>15870620
If you don't know anything about basic music history, why even bother comment? Ignorance is not something to show off.

[Anonymous No.15870819]

>>15869598
Several very good reasons actually:
>look at his face lmao
>we already have a better Jewish Enlightenment philosopher in Spinoza
>he wrote in the format of Socratic dialogues which is very cringe
>Kant wrote an entire section in CoPR where he BTFO'd him out of the intellectual world
>on that note, his biggest achievement is having his name mentioned in CoPR
>he was an ugly dwarf
His metaphysics is Leibnizian and his epistemology is Cartesian. We honestly have enough of this 17-18th c. metaphysical babble without adding yet another irrelevant fuck just to make the list longer for no reason.