第26章 THE LOVE PANACEA(1)

We shall now find that at the point where The Ring changes from music drama into opera, it also ceases to be philosophic, and becomes didactic.The philosophic part is a dramatic symbol of the world as Wagner observed it.In the didactic part the philosophy degenerates into the prescription of a romantic nostrum for all human ills.Wagner, only mortal after all, succumbed to the panacea mania when his philosophy was exhausted, like any of the rest of us.

The panacea is by no means an original one.Wagner was anticipated in the year 1819 by a young country gentleman from Sussex named Shelley, in a work of extraordinary artistic power and splendor.Prometheus Unbound is an English attempt at a Ring;and when it is taken into account that the author was only 27whereas Wagner was 40 when he completed the poem of The Ring, our vulgar patriotism may find an envious satisfaction in insisting upon the comparison.Both works set forth the same conflict between humanity and its gods and governments, issuing in the redemption of man from their tyranny by the growth of his will into perfect strength and self-confidence; and both finish by a lapse into panacea-mongering didacticism by the holding up of Love as the remedy for all evils and the solvent of all social difficulties.

The differences between Prometheus Unbound and The Ring are as interesting as the likenesses.Shelley, caught in the pugnacity of his youth and the first impetuosity of his prodigious artistic power by the first fierce attack of the New Reformation, gave no quarter to the antagonist of his hero.His Wotan, whom he calls Jupiter, is the almighty fiend into whom the Englishman's God had degenerated during two centuries of ignorant Bible worship and shameless commercialism.He is Alberic, Fafnir Loki and the ambitious side of Wotan all rolled into one melodramatic demon who is finally torn from his throne and hurled shrieking into the abyss by a spirit representing that conception of Eternal Law which has been replaced since by the conception of Evolution.

Wagner, an older, more experienced man than the Shelley of 1819, understood Wotan and pardoned him, separating him tenderly from all the compromising alliances to which Shelley fiercely held him; making the truth and heroism which overthrow him the children of his inmost heart; and representing him as finally acquiescing in and working for his own supersession and annihilation.Shelley, in his later works, is seen progressing towards the same tolerance, justice, and humility of spirit, as he advanced towards the middle age he never reached.But there is no progress from Shelley to Wagner as regards the panacea, except that in Wagner there is a certain shadow of night and death come on it: nay, even a clear opinion that the supreme good of love is that it so completely satisfies the desire for life, that after it the Will to Live ceases to trouble us, and we are at last content to achieve the highest happiness of death.

This reduction of the panacea to absurdity was not forced upon Shelley, because the love which acts as a universal solvent in his Prometheus Unbound is a sentiment of affectionate benevolence which has nothing to do with sexual passion.It might, and in fact does exist in the absence of any sexual interest whatever.