FREE BOOKS

Author's List




PREV.   NEXT  
|<   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107   108   109   110   111   112  
113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   >>   >|  
balanced pecking cranes, and in the curling leaves of which little naked winged Cupids are drawing their bows and sharpening their arrows even as in the bas-reliefs of a pagan sarcophagus. In the free and spontaneous activity of musical conception, the composer may forget the words he is setting, as the painter may forget the subject he is painting in the fervour of plastic imagination; for the musician conceives not emotions, but modulations; and the painter conceives not actions, but gestures and attitudes. Thence it comes that Mozart has made regicide Romans storm and weep as he would have made Zerlina and Cherubino laugh, just as Titian made Magdalen smite her breast in the wilderness with the smile of Flora on her feast-day; hence that confusion in all save form, that indifference to all save beauty, which characterises all the great epochs of art, that sublime jumble of times and peoples, of tragic and comic, that motley crowding together of satyrs and anchorites, of Saracens and ancient Romans, of antique warriors and mediaeval burghers, of Gothic tracery and Grecian arabesque, of Theseus and Titania, of Puck and Bottom, that great masquerade of art which we, poor critics, would fain reduce to law and rule, to chronological and ethnological propriety. Those times are gone by: we wish to make every form correspond with an idea; we wish to be told a story by the statue, by the picture, most of all by that which can least tell it--by music. We forget that music is neither a symbol which can convey an abstract thought, nor a brute cry which can express an instinctive feeling; we wish to barter the power of leaving in the mind an indelible image of beauty for the miserable privilege of awakening the momentary recollection of one of nature's sounds, or the yet more miserable one of sending a momentary tremor through the body; we would rather compare than enjoy, and rather weep than admire. Therefore we try to force music to talk a language which it does not speak and which we do not understand; and succeed only in making it babble like a child or rave like a madman, obtaining nothing but unintelligible and incoherent forms in our anxiety to obtain intelligible and logical thoughts. We forget that great fact, forever overlooked by romanticism, that poetry and music are essentially distinct in their nature; that Chapelmaster Kreisler's improvisation was not played but spoken; and that had not the snuffers fallen into the
PREV.   NEXT  
|<   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107   108   109   110   111   112  
113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   >>   >|  



Top keywords:

forget

 

Romans

 

conceives

 

beauty

 

momentary

 

miserable

 

nature

 

painter

 
feeling
 

barter


instinctive

 

express

 
thought
 
Kreisler
 

awakening

 

Chapelmaster

 

distinct

 

privilege

 

improvisation

 

abstract


indelible
 

leaving

 

symbol

 
fallen
 

correspond

 

statue

 

picture

 

spoken

 

played

 

essentially


snuffers

 

convey

 

recollection

 
language
 

unintelligible

 
Therefore
 

incoherent

 
obtaining
 
making
 

babble


madman
 

understand

 
succeed
 

admire

 

logical

 

sounds

 

intelligible

 

thoughts

 
romanticism
 

overlooked