GHDI logo

Richard Wagner, What is German? (1865/1878)

page 5 of 8    print version    return to list previous document      next document


A Folk reduced to a tenth of its former numbers, its significance could nowhere survive but in the memory of units. Even that memory had first to be revived and toilsomely fed, to begin with, by the most prescient of minds. It is a wonderful trait of the German spirit’s, that whereas in its earlier period of evolution it had most intimately assimilated the influences coming from without, now, when it quite had lost the vantage-ground of outward political power, it bore itself anew from out its own most inward store. – Recollection (Erinnerung) now became for it in truth a self-collection (Er-Innerung); for upon its deepest inner self it drew, to ward itself from the now immoderate outer influences. ’Twas no question of its external existence, for that had been ensured by the continuance of the German Princes; ay! survived there not the title of “Romo-German Kaiser”? But its truest essence, now ignored by most of these its Princes, – that was the German spirit’s object to preserve and quicken to new force. In the French livery and uniform, with periwig and pigtail (Zopf), and laughably set out with imitations of French gallantry, the scanty remnant of its people fronted it; while its language even the burgher, with his garnish of French flourishes, was about to abandon merely to the peasant. – Yet when its native countenance, its very speech was lost, there remained to the German spirit one last, one undreamt sanctuary wherein to plainly tell itself the story of its heart of hearts. From the Italians the German had adopted Music, also, for his own. Whoso would seize the wondrous individuality, the strength and meaning of the German spirit in one incomparably speaking image, let him cast a searching glance upon the else so puzzling, wellnigh unaccountable figure of Music’s wonder-man Sebastian Bach. He is the history of the German spirit’s inmost life throughout the gruesome century of the German Folk’s complete extinction. See there that head, insanely muffled in the French full-bottomed wig; behold that master, a wretched organist and cantor, slinking from one Thuringian parish to another, puny places scarcely known to us by name; see him so unheeded, that it required a whole century to drag his works from oblivion; finding even Music pinioned in an art-form the very effigy of his age, dry, stiff, pedantic, like wig and pigtail set to notes: then see what a world the unfathomably great Sebastian built from out these elements! I merely point to that Creation; for it is impossible to denote its wealth, its sublimity, its all-embracing import, through any manner of comparison. If, however, we wish to account for the amazing rebirth of the German spirit on the field of poetic and philosophic Literature too, we can do so only by learning from Bach what the German spirit is in truth, where it dwelt, and how it restless shaped itself anew, when it seemed to have altogether vanished from the world. A biography of this man has recently appeared, and the Allgemeine Zeitung has reviewed it. I cannot resist quoting the following passages from that review: “With labour and rare force of will he struggles up from poverty and want to the topmost height of art, strews with full hands an almost incommensurable plenty of most glorious masterworks, strews it on an age which can neither comprehend nor prize him, and dies beneath a burden of downweighing cares, lonely and forgotten, leaving his family in poverty and privation. [ . . . ] The grave of the Song-dispenser closes over the weary home-gone man without a song or sound, because the household penury cannot afford the grave-chant fee. [ . . . ] Might the reason, why our composers so seldom find biographers, lie partly in the circumstance that their end is usually so mournful, so harrowing?” – And while this was happening with great Bach, sole harbourer and new-bearer of the German spirit, the large and little Courts of German princes were swarming with Italian opera-composers and virtuosi, bought with untold outlay, too, to shower on slighted Germany the leavings of an art that nowadays cannot be accorded the least consideration.

first page < previous   |   next > last page