Correspondence of Wagner and Liszt Volume I Part 18

Your

RICHARD WAGNER

August 23rd, 1851

67.

MY DEAR FRIEND,

At last I am able to break my long silence. The contents of this letter will show you with regard to how many and comparatively important matters I had to come to a clear decision before I could write to you in the definite manner which has now become possible.

My silence was to a large extent caused by my weak state of health. For more than two months I have been using a water cure, and during that time I found it quite impossible to write to you at such length as I felt more and more every day that I ought to do. A most cogent reason for writing to you arose to me from reading your pamphlet on my two operas, which I received at the hydropathic establishment. Your rare friendship for me, your energetic love of my works, your restless zeal in making propaganda for those works, and, before all, the splendid enthusiasm, the spirit, the subtlety, and boldness with which your zeal inspired you, moved me too deeply and powerfully to allow me to express my grat.i.tude in the excited state in which I was. I had to leave this to a time when better health and a more collected mind would make it possible for me to communicate with you at greater length. I hope now to have got so far, and must tell you first of all that the sacrifice of the most beautiful affection which you have again offered me has moved me to the heart and has made me very glad and happy. You have moved me most deeply in all those parts where you had come to a perfect agreement with me, for the reason that this agreement was not a ready-made thing, but a discovery new to both of us. Most specially were my attention, sympathy, and eagerness awakened when I saw my original intention newly reflected in the mirror of your individual conception; for here I was able to realize fully the impression I had been fortunate enough to produce on your fertile artistic receptivity.

What you have been to me I tried recently to explain in a public manner, and having to write for publicity, I did so as soberly as possible, limiting myself entirely to the facts of our relations which I wanted to explain to those who perhaps could not understand such a friendship nowadays. I did this, being irresistibly impelled by my heart, in a "Mittheilung an meine Freunde," which I prefixed as an introduction to my three operatic poems. In the same place I stated plainly that I had despaired of ever again undertaking an artistic task, and that to you and your active sympathy it was solely due if I once more had gathered sufficient courage and energy for an artistic enterprise, which I should dedicate to you and to those of my friends comprised in "the local idea: Weimar." The timidity of Messrs. Hartel, the publishers of the book, has taken exception to certain pa.s.sages in that preface to which I did not wish to have any demonstrative intention attributed, and which I might have expressed just as well in a different way; and the appearance of the book has in consequence been much r.e.t.a.r.ded, to my great annoyance, for special reasons.

For the public declaration as to the intended destiny of my next dramatic work would, owing to my latest resolution, require an essential modification if it were to be quite in accordance with actual circ.u.mstances. But, although the preface, written at the beginning of last August, appears in the present circ.u.mstances too late, the aforesaid declaration will be given to the public without any change; and if I cannot fulfill the promise given in it in the manner there stated, it may at least serve you and my Weimar friends as a proof of the genuine sincerity of the intention then held by me. I should also be glad to think that in that public declaration I have furnished a sign of my grat.i.tude for the sympathy they have shown to me, even if, as I said before, I cannot prove that grat.i.tude in the exact manner there promised.

To you, my dear Liszt, I am now compelled to confess that my resolution of writing a new opera for Weimar has been so essentially modified as scarcely to exist any longer in that form.

Hear then the strictly veracious account of the artistic enterprise in which I have been engaged for some time, and the turn it had of necessity to take.

In the autumn of 1848 I sketched for the first time the complete myth of the "Nibelungen", such as it henceforth belongs to me as my poetic property. My next attempt at dramatizing the chief catastrophe of that great action for our theatre was "Siegfried's Death". After much wavering I was at last, in the autumn of 1850, on the point of sketching the musical execution of this drama, when again the obvious impossibility of having it adequately performed anywhere prevented me in the first instance from beginning the work. To get rid of this desperate mood, I wrote the book "Oper und Drama." Last spring your article on "Lohengrin" inspired me to such a degree that for your sake I resumed the execution of a drama quickly and joyously; this I wrote to you at the time: but "Siegfried's Death"--that, I knew for certain, was in the first instance impossible. I found that I should have to prepare it by another drama, and therefore took up the long-cherished idea of making the young Siegfried the subject of a poem. In it everything that in "Siegfried's Death" was either narrated or more or less taken for granted was to be shown in bold and vivid outline by means of actual representation. This poem was soon sketched and completed. When I was going to send it to you, I for the first time felt a peculiar anxiety. It seemed as if I could not possibly send it to you without explanation, as if I had many things to tell you, partly as to the manner of representation and partly as to the necessary comprehension of the poem itself. In the first instance it occurred to me that I still had many and various things to communicate previous to my coming before my friends with this poem. It was for that reason that I wrote the long preface to my three earlier operatic poems, of which mention has already been made. After this I was going to begin the composition, and found, to my joy, that the music adapted itself to these verses quite naturally and easily, as of its own accord. But the very commencement of the work reminded me that I should ruin my health entirely if I did not take care of it thoroughly before yielding to my impulse and finishing the work at a stretch and probably without interruption. When I went to the hydropathic establishment, I felt compelled at last to send you the poem; but, strangely enough, something always seemed to restrain me. I was led to hesitate, because I felt as if your acquaintance with this poem would place you in a certain awkward position, as if you would not exactly know what to make of it, whether to receive it with hope or diffidence. At last, on mature consideration, my plan in its logical sequence became clear to me. Listen to me:--

This "Young Siegfried" also is no more than a fragment, and as a separate ent.i.ty it cannot produce its proper and sure impression until it occupies its necessary place in a complete whole, a place which I now a.s.sign to it, together with "Siegfried's Death," in my newly designed plan. In these two dramas a number of necessary relations were left to the narrative or even to the sagacity of the hearer. Everything that gave to the action and the character of these two dramas their infinitely touching and widely spreading significance had to be omitted in the representation, and could be communicated to the mind alone. But, according to my inmost conviction since formed, a work of art, and especially a drama, can have its true effect only when the poetic intention in all its more important motives speaks fully to the senses, and I cannot and dare not sin against this truth which I have recognized. I am compelled therefore to communicate my entire myth in its deepest and widest significance with the greatest artistic precision, so as to be fully understood.

Nothing in it must in any sense be left to be supplied by thought or reflection; the unsophisticated human mind must be enabled by its artistic receptivity to comprehend the whole, because by that means only may the most detached parts be rightly understood.

Two princ.i.p.al motives of my myth therefore remain to be represented, both of which are hinted at in "Young Siegfried", the first in the long narrative of Brynhild after her awakening (Act III.), the second in the scene between Alberich and the Wanderer in the second act and between the Wanderer and Mime in the first. That to this I was led not only by artistic reflection, but by the splendid and, for the purpose of representation, extremely rich material of these motives, you will readily understand when you consider the subject more closely. Think then of the wondrously fatal love of Siegmund and Siegelinde, of Wotan in his deep, mysterious relation to that love, in his dispute with Fricka, in his terrible self-contention when, for the sake of custom, he decrees the death of Siegmund, finally of the glorious Valkyrie Brynhild, as, divining the innermost thought of Wotan, she disobeys the G.o.d, and is punished by him; consider this wealth of motive indicated in the scene between the Wanderer and the Wala, and at greater length in the above-mentioned tale of Brynhild, as the material of a drama which precedes the two Siegfrieds; and you will understand that it was not reflection, but rather enthusiasm, which inspired my latest plan.

That plan extends to three dramas: (l) "The Valkyrie"; (2) "Young Siegfried"; (3) "Siegfried's Death". In order to give everything completely, these three dramas must be preceded by a grand introductory play: "The Rape of the Rhinegold". The object is the complete representation of everything in regard to this rape: the origin of the Nibelung treasure, the possession of that treasure by Wotan, and the curse of Alberich, which in "Young Siegfried"

occur in the form of a narrative. By the distinctness of representation which is thus made possible, and which at the same time does away with everything of the nature of a lengthy narration, or at least condenses it in a few pregnant moments, I gain sufficient s.p.a.ce to intensify the wealth of relations, while in the previous semi-epical mode of treatment I was compelled to cut down and enfeeble all this. I mention only one thing:--

Alberich ascends from the depth of the earth to the three daughters of the Rhine; he persecutes them with his loathsome wooing; rejected by one, he turns to the other; laughing and teasing, they all refuse the gnome. Then the Rhinegold begins to glow; Alberich is attracted; he inquires as to its meaning; the girls tell him that they use it as a bright plaything, and that its splendour lights up the depth of the waves with blissful glow, but that he might work many wonders, might gain power and strength, wealth and dominion, through means of the gold, who could weld it to a ring. But only he who renounces love can do this. They tell him that to prevent any one from robbing the gold they have been appointed its warders, for he who approaches them would certainly not desire the gold; Alberich at least is not likely to do this, as he is so much in love with them. Again they laugh at him. Then the Nibelung grows furious, he robs the gold, and takes it with him into the depths.

But enough of these particulars. Let me tell you my plan for the practical execution of the whole.

Of a separation of the materials of this great whole I cannot think without destroying my object at the outset. The entire cycle of dramas must be represented in rapid sequence, and their external embodiment can be thought of only in the following favourable circ.u.mstances. The performance of my Nibelung dramas will have to take place at a great festival, to be arranged perhaps especially for the purpose of this performance. It will have to extend over three consecutive days, the introductory drama to be given on the previous evening. If a performance in such circ.u.mstances has been accomplished, the whole may in the first instance be repeated on another occasion, and after that the single dramas, being complete in themselves, may be given separately ad libitum; but in any case the impression of a continuous performance must have gone before.

Where and in what circ.u.mstances such a performance may become possible I must not for the present consider, for first of all I have to complete my great work, and that will take me at least three years if I have any regard for my health.

A fortunate turn in the affairs of my intimate friends the R.

family has had the effect that for that time and for the rest of my life I may attend to my artistic creations quietly and undisturbed by material cares. When once I have finished my great work, means will, I hope, be found of having it performed according to my design. If Weimar is still standing then, and if your efforts at doing something fine there have been more fortunate than at present, alas! seems likely, and more than likely, we shall see how the matter can be managed.

However bold, extraordinary, and perhaps fantastic my plan may appear to you, be convinced that it is not the outgrowth of a mere pa.s.sing whim, but has been imposed upon me by the necessary consequences of the essence and being of the subject which occupies me wholly and impels me towards its complete execution.

To execute it according to my power as a poet and musician is the only thing that stands before my eyes; anything else must not trouble me for the present. Knowing your way of thinking, I do not doubt for a moment that you will agree with me and encourage my purpose, although it will frustrate for the moment your flattering wish soon to produce another work of mine.

After this I may confess that the definite alteration of my plan relieves me of an almost painful difficulty: the difficulty of having to demand the performance of "Young Siegfried" of the Weimar theatre. Only now, together with this explanation, do I send you the poem of "Young Siegfried" with a light heart, for I know that now you will read it without the anxiety which the thought of its completion and of its performance at the Weimar theatre, such as it is and cannot help being, would necessarily have caused in you. Let us have no illusions on this subject.

What you, and you alone, have done for me at Weimar, is astonishing, and was all the more important for me, as without you I should have been entirely forgotten. Instead of this you have used all the means which you alone could have brought together in drawing towards me the public attention of lovers of art with such energy and such success that your efforts on behalf of me and my reputation are the only thing which enables me even to think of the execution of such plans as the one I have just communicated to you. This I see with perfect clearness, and I call you openly the creator of my actual position, which may perhaps lead to great things in the future.

I further ask, What expectations have you still of Weimar? With sad candour I must tell you that, after all, I consider your trouble about Weimar to be fruitless. Your experience is that as soon as you turn your back the most perfect vulgarity springs luxuriantly from the soil in which you had laboured to plant the n.o.blest things; you return, and have just ploughed up once more half of the soil, when the tares begin to sprout even more impertinently. Truly I watch you with sadness. On every side of you I see the stupidity, the narrow-mindedness, the vulgarity, and the empty vanity of jealous courtiers, who are only too sadly justified in envying the success of genius.

But enough of this disgusting matter. For my sake I care no longer about it, for I have quite made up my mind as to it, but I care about it for your sake. I hope you will arrive at my opinion before it is too late for your good humour.

It is quite touching to me to have in a manner to take leave of our amiable Zigesar; I must write to him and at the same time pay my debt to him. This last is one of the most painful features of the explanation which will be necessary.

You are aware that I had determined upon writing a new work for you before the pecuniary arrangement between Zigesar and me was made. That such an arrangement was made and was offered to me by our friend with such obvious pleasure and satisfaction was of the greatest value to me.

This I have confessed to him candidly. It would appear almost trivial, mean, and in a certain sense offensive on my part to repay the sum already received on account of that agreement, for it was given to me, not in order to place me under any "obligation" towards you and Zigesar, but with the friendly desire to relieve me as far as possible of domestic cares during the composition of an opera. Nevertheless this agreement has still another meaning, which appears all the more serious at this moment because Zigesar has, temporarily at least, a successor in the management of the theatre. Towards this successor I am simply in the position of a debtor; and as I am not able to execute the commission I had accepted, I am bound formally and materially to dissolve a contract which cannot exist any longer. Fortunately I am in a position not to cause you any disagreeable difficulty as to this point.

After all these explanations, I send you, my dear friend and brother, the poem of my "Young Siegfried", such as I designed and executed it when I still thought of its separate performance. In connection with the other dramas it will naturally have to undergo many alterations, and especially some beneficial abbreviations in the narrative portion. Many things will strike you in it, notably its great simplicity and the few characters amongst whom the action is distributed; but if you think of this piece as placed between the "Valkyrie" and "Siegfried's Death", both of which dramas have a much more complicated action, you will, I have little doubt, in accordance with my intention, receive a peculiar and sympathetic impression from this forest scene, with its youthful, fearless solitude. As I told you before, I can now send you this poem willingly and without fear, for you are no longer required to glance from it anxiously towards your public. You need, for example, no longer trouble about what will be thought of the "woman" by people who see in "woman" only their own wives, or at the outside some girl, etc., etc. From this anxiety also I know you to be free, and am glad that I can disclose to you my artistic intention without fear of a real misunderstanding. Could I but succeed in engaging your favour and sympathy for my plan whenever and wherever it may be accomplished! I firmly hope for a future realization, for there is too much creative impulse in me not to nourish hope along with it. My previous continual anxiety about my health has also now been relieved by the conviction I have since gained of the all- healing power of water and of nature's medicine; I am in the way of becoming and, if I choose, of remaining a perfectly healthy man. If you wretched people would only get a good digestion, you would find that life suddenly a.s.sumes a very different appearance from what you saw through the medium of your digestive troubles.

In fact, all our politics, diplomacy, ambition, impotence, science, and, what is worst, our whole modern art, in which the palate, at the expense of the stomach, is alone satisfied, tickled, and flattered, until at last a corpse is unwittingly galvanized--all this parasite growth of our actual existence has no soil to thrive in but a ruined digestion. I wish that those could and would understand me to whom I exclaim these almost ridiculously sounding but terribly true words!

But I notice that I am straying from one thing to another, and therefore will conclude at last. I ask you fervently, my dear Liszt, to write me soon and fully what you think of this letter and parcel. May I always find in you the kind friend and protector that you have been and are to me, and whom at all times I shall embrace with grateful, fraternal love.

Your deeply obliged

RICHARD WAGNER.

ALBISBRUNN, November 20th, 1851.

When you receive these lines, I shall be back in Zurich, where my address will be "Zeltweg, Zurich."

68.

Your letter, my glorious friend, has given me great joy. You have reached an extraordinary goal in your extraordinary way. The task of developing to a dramatic trilogy and of setting to music the Nibelung epic is worthy of you, and I have not the slightest doubt as to the monumental success of your work. My sincerest interest, my warmest sympathy, are so fully secured to you that no further words are needed. The term of three years which you give to yourself may bring many favourable changes in your external circ.u.mstances. Perhaps, as some papers state, you will soon return to Germany; perhaps by the time you finish your "Siegfried" I shall have other resources at my disposal. Go on then and do your work without care. Your programme should be the same which the Chapter of Seville gave to its architect in connection with the building of the cathedral: "Build us such a temple that future generations will be obliged to say, 'The Chapter was mad to undertake so extraordinary a thing.'" And yet the cathedral is standing there at the present day.

I enclose a letter from Herr von Zigesar, the contents of which I know, but have by no means inspired. Zigesar is a sure, excellent, sterling character, and you may always count upon his friendship in that capacity. I hope that as soon as his painful disease of the eyes will allow him he will resume the management, probably by next spring.

Your well-accounted-for and justified fears as to my Weymar activity I pa.s.s by without reply; they will be proved or disproved by facts during the few years that you dwell amongst your Nibelungs. In any case I am prepared for better or worse, and hope to continue quietly in my modest way. Raff has finished a thick volume of preparatory studies for the composition of his new Biblical opera "Simson" (p.r.o.nounce Schimmeschon), The opera itself will be finished next year. Cordial thanks, dear friend, for sending me "Young Siegfried". Unfortunately I was last week in such a turmoil of business that I could not find a quiet hour to read the book. Can you let me keep it till Christmas? When will your three dramas "Flying Dutchman", "Tannhauser", and "Lohengrin" appear? Have you rewritten the preface? H. promised it to me, but up till now I have received nothing. Have you perhaps changed your publisher? Let me know about it on occasion through B., who is writing to you at the same time with this.

Farewell, and live, if possible, in peace with the upper world and with your lower stomach, to which in your letter you attribute many things not quite pertaining to it. People may think as they like, I cannot get rid of the definition "L'homme est une intelligence servie par des organes," and that your organs serve you excellently well is proved by your writing the Nibelung trilogy with prologue.

May the living G.o.d bless you and have you in His keeping!

Your cordially devoted friend,

F. LISZT.

WEYMAR, December 1st, 1851.

69.

MY DEAREST FRIEND,