FREE BOOKS

Author's List




PREV.   NEXT  
|<   175   176   177   178   179   180   181   182   183   184   185   186   187   188   189   190   191   192   193   194   195   196   197   198   199  
200   201   202   203   204   205   206   207   208   209   210   211   212   213   214   215   216   217   218   219   220   221   222   223   224   >>   >|  
d--are fixed. Da Ponte's Cherubino and Mozart's melodies remain unalterable. All the rest is undecided; the singer and the listener change on each occasion. To assert that the musician Mozart meant nothing by his music, to assert that he only cared about it _qua_ music, is the same as to say that the painter Tintoretto, when he put the Crucifixion upon canvas, the sculptor Michelangelo, when he carved Christ upon the lap of Mary, meant nothing, and only cared about the beauty of their forms and colours. Those who take up this position prove, not that the artist has no meaning to convey, but that for them the artist's nature is unintelligible, and his meaning is conveyed in an unknown tongue. It seems superfluous to guard against misinterpretation by saying that to expect clear definition from music--the definition which belongs to poetry--would be absurd. The sphere of music is in sensuous perception; the sphere of poetry is in intelligence. Music, dealing with pure sound, must always be vaguer in significance than poetry, dealing with words. Nevertheless, its effect upon the sentient subject may be more intense and penetrating for this very reason. We cannot fail to understand what words are intended to convey; we may very easily interpret in a hundred different ways the message of sound. But this is not because words are wider in their reach and more alive; rather because they are more limited, more stereotyped, more dead. They symbolise something precise and unmistakable; but this precision is itself attenuation of the something symbolised. The exact value of the counter is better understood when it is a word than when it is a chord, because all that a word conveys has already become a thought, while all that musical sounds convey remains within the region of emotion which has not been intellectualised. Poetry touches emotion through the thinking faculty. If music reaches the thinking faculty at all, it is through fibres of emotion. But emotion, when it has become thought, has already lost a portion of its force, and has taken to itself a something alien to its nature. Therefore the message of music can never rightly be translated into words. It is the very largeness and vividness of the sphere of simple feeling which makes its symbolical counterpart in sound so seeming vague. But in spite of this incontestable defect of seeming vagueness, emotion expressed by music is nearer to our sentient self, if we have ears to
PREV.   NEXT  
|<   175   176   177   178   179   180   181   182   183   184   185   186   187   188   189   190   191   192   193   194   195   196   197   198   199  
200   201   202   203   204   205   206   207   208   209   210   211   212   213   214   215   216   217   218   219   220   221   222   223   224   >>   >|  



Top keywords:

emotion

 

poetry

 
convey
 
sphere
 

definition

 
thought
 

thinking

 
nature
 
meaning
 

faculty


dealing
 
Mozart
 

message

 

sentient

 
artist
 

assert

 
attenuation
 

counter

 

symbolised

 

nearer


conveys

 

expressed

 

understood

 

limited

 

stereotyped

 

vagueness

 

precise

 

unmistakable

 
symbolise
 

precision


incontestable

 
portion
 

feeling

 

symbolical

 

fibres

 

counterpart

 

largeness

 

vividness

 

translated

 

rightly


Therefore

 

reaches

 

region

 

remains

 

sounds

 
simple
 
musical
 

touches

 

intellectualised

 

Poetry