第27章 THE LOVE PANACEA(2)

The words mercy and kindness connote it less ambiguously than the word love.But Wagner sought always for some point of contact between his ideas and the physical senses, so that people might not only think or imagine them in the eighteenth century fashion, but see them on the stage, hear them from the orchestra, and feel them through the infection of passionate emotion.Dr.Johnson kicking the stone to confute Berkeley is not more bent on common-sense concreteness than Wagner: on all occasions he insists on the need for sensuous apprehension to give reality to abstract comprehension, maintaining, in fact, that reality has no other meaning.Now he could apply this process to poetic love only by following it back to its alleged origin in sexual passion, the emotional phenomena of which he has expressed in music with a frankness and forcible naturalism which would possibly have scandalized Shelley.The love duet in the first act of The Valkyries is brought to a point at which the conventions of our society demand the precipitate fall of the curtain; whilst the prelude to Tristan and Isolde is such an astonishingly intense and faithful translation into music of the emotions which accompany the union of a pair of lovers, that it is questionable whether the great popularity of this piece at our orchestral concerts really means that our audiences are entirely catholic in their respect for life in all itits beneficently creative functions, or whether they simply enjoy the music without understanding it.

But however offensive and inhuman may be the superstition which brands such exaltations of natural passion as shameful and indecorous, there is at least as much common sense in disparaging love as in setting it up as a panacea.Even the mercy and lovingkindness of Shelley do not hold good as a universal law of conduct: Shelley himself makes extremely short work of Jupiter, just as Siegfried does of Fafnir, Mime, and Wotan; and the fact that Prometheus is saved from doing the destructive part of his work by the intervention of that very nebulous personification of Eternity called Demogorgon, does not in the least save the situation, because, flatly, there is no such person as Demogorgon, and if Prometheus does not pull down Jupiter himself, no one else will.It would be exasperating, if it were not so funny, to see these poets leading their heroes through blood and destruction to the conclusion that, as Browning's David puts it (David of all people!), "All's Love; yet all's Law."Certainly it is clear enough that such love as that implied by Siegfried's first taste of fear as he cuts through the mailed coat of the sleeping figure on the mountain, and discovers that it is a woman; by her fierce revolt against being touched by him when his terror gives way to ardor; by his manly transports of victory; and by the womanly mixture of rapture and horror with which she abandons herself to the passion which has seized on them both, is an experience which it is much better, like the vast majority of us, never to have passed through, than to allow it to play more than a recreative holiday part in our lives.It did not play a very large part in Wagner's own laborious life, and does not occupy more than two scenes of The Ring.Tristan and Isolde, wholly devoted to it, is a poem of destruction and death.

The Mastersingers, a work full of health, fun and happiness, contains not a single bar of love music that can be described as passionate: the hero of it is a widower who cobbles shoes, writes verses, and contents himself with looking on at the sweetheartings of his customers.Parsifal makes an end of it altogether.The truth is that the love panacea in Night Falls On The Gods and in the last act of Siegfried is a survival of the first crude operatic conception of the story, modified by an anticipation of Wagner's later, though not latest, conception of love as the fulfiller of our Will to Live and consequently our reconciler to night and death.