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  At like time (and this apparent digression has an important bearing on our subject) the C-minor Symphony appeals to us as one of those rarer conceptions of the master's in which a stress of bitter passion, the fundamental note of the commencement, mounts rung by rung through consolation, exaltation, till it breaks into the joy of conscious victory. Here lyric pathos already verges on the definitely dramatic, in an ideal sense; and though it might be doubted whether the purity of Musical Conception would not ultimately suffer by the pursuance of this path, through its leading to the dragging-in of fancies altogether foreign to the spirit of Music, yet it cannot be denied that the master was in nowise prompted by a truant fit of aesthetic speculation, but simply and solely by an ideal instinct sprung from Music's ownest realm.(26) As shewn when we started on this last inquiry, that instinct coincided with the struggle to rescue from every plausible objection raised by his experience of life the conscious belief in human nature's original goodness, or haply to regain it. Those conceptions of the master's which breathe wellnigh throughout the spirit of sublimest gladness (Heiterke it) belong pre-eminently, as we have seen, to the period of that blessed seclusion which seems upon arrival of his total deafness to have wholly rapt him from this world of pain. From the sadder mood that reappears in certain of his most important works we perhaps have no need to infer a downfall of that inner gladness, since we undoubtedly should make a grave mistake if we thought the Artist could ever conceive save in a state of profound cheerfulness of soul. The mood expressed in the conception must therefore belong to that world's-Idea itself which the artist seizes and interprets in his artwork. But, as we have taken for granted that in Music the Idea of the whole World reveals itself, the inspired musician must necessarily be included in that Idea, and what he utters is therefore not his personal opinion of the world, but the World itself with all its changing moods of grief and joy, of weal and woe. The conscious doubt of Beethoven the man was included in this World, as well; and thus his doubt is speaking for itself, in nowise as an object of his reflection, when he brings the world to such expression as in his Ninth Symphony, for instance, whose first movement certainly shews us the Idea of the world in its most terrible of lights. Elsewhere, however, this very work affords us unmistakable evidence of the purposely ordaining will of its creator; we are brought face to face with it when he stops the frenzy of despair that overwhelms each fresh appeasement, and, with the anguished cry of one awaking from a nightmare, he speaks that actual Word whose ideal sense is none other than: "Man, despite all, is good !"

  It has always been a stumbling-block, not only to Criticism, but to the ingenuous Feeling, to see the master here falling of a sudden out of Music, in a manner, as if stepping outside the magic circle he himself had drawn, and appealing to a mental faculty entirely distinct from that of musical conception. In truth this unprecedented stroke of art resembles nothing but the sudden waking from a dream, and we feel its comforting effect upon the tortured dreamer; for never had a musician led us through the torment of the world so relentlessly and without end. So it was with a veritable leap of despair that the divinely naive master, inspired by nothing save his magic, set foot on that new world of Light from out whose soil the long-sought godlike-sweet and guileless-human melody bloomed forth to greet him with its purity.

  Thus with even what we have styled the ordaining will that led him to this melody, we find the master still abiding in the realm of Music, the world's Idea; for it is not the meaning of the Word, that really takes us with this entry of the human voice, but the human character of that voice. Neither is it the thought expressed in Schiller's verses, that occupies our minds thereafter, but the familiar sound of the choral chant; in which we ourselves feel bidden to join and thus take part in an ideal Divine Service, as the congregation really did at entry of the Chorale in S. Bach's great Passions. In fact it is obvious, especially with the chief-melody proper, that Schiller's words have been built in perforce and with no great skill ; (27) for this melody had first unrolled its breadth before us as an entity per se, entrusted to the instruments alone, and there had thrilled us with the nameless joy of a paradise regained.

  Never has the highest art produced a thing more artistically simple than this strain, whose childlike innocence as though breathes into us a holy awe when first we hear the theme in unaccented whispers from the bass instruments of the string-orchestra in unison. It then becomes the cantus firmus, the Chorale of the new communion, round which, as round S. Bach's own church-chorales, the harmonic voices group themselves in counterpoint. There is nothing to equal the sweet intensity of life this primal strain of spotless innocence acquires from every new- arising voice; till each adornment, every added gem of passion, unites with it and in it, like the breathing world around a final proclamation of divinest love. (28 ) -

  Surveying the historical advance which the art of Music made through Beethoven, we may define it as the winning of a faculty withheld from her before: in virtue of that acquisition she mounted far beyond the region of the aesthetically Beautiful, into the sphere of the absolutely Sublime; and here she is freed from all the hampering of traditional or conventional forms, through her filling their every nook and cranny with the life of her ownest spirit. And to the heart of every human being this gain reveals itself at once through the character conferred by Beethoven on music's chiefest Form, on Melody, which has now rewon the utmost natural simplicity, the fount whereat in every age, for every need, it may renew itself and thrive to richest, amplest multiplicity. And this we may sum in a single term, intelligible to everyone: Melody has been emancipated by Beethoven from all influence of the Mode, of shifting taste, and raised to an eternal purely-human type. Beethoven's music will be understood throughout all time, whereas the music of his predecessors will for the most part stay un-understandable save by aid of art-historical Reflection.-

  But, on the path whereon Beethoven arrived at this memorable ennoblement of Melody, there is yet another advance to note: to wit, the new meaning gained by Vocal music in its relation to purely Instrumental music.

  This meaning was previously unknown to 'mixed' vocal-and-instrumental music. The latter we first meet in compositions for the church, and need have no scruple in calling it vocal music spoilt, inasmuch as the orchestra is here employed as mere accompaniment or reinforcement to the singing voices. The church-compositions of great S. Bach are only to be understood as works for a vocal choir, saving that this choir itself is already handled with the freedom and mobility of an instrumental orchestra,- which naturally suggested the latter's introduction for reinforcement and support. Then, concurrently with the greater and greater decline of the spirit of church-music, we find added to this mixture the Italian operatic song with orchestral accompaniment, in fashions varying with the times. It was reserved for Beethoven's genius to employ the resulting compound purely in the sense of an Orchestra of increased resources. In his great Missa solemnis we have a strictly Symphonic work, of the truest Beethovenian spirit. Here the vocal parts are handled quite in that sense of human instruments which Schopenhauer very rightly wished to see alone assigned to them: when presented as a musical artwork, the text to which these great church-compositions are set is never seized by us according to the letter, but simply serves as material for the singing; and it has no disturbing effect on our musical impressions for simple reason that it starts no train of inductive thought (Vernunftvorstellungen), but affects us solely through well-known symbolic formulae of faith, as indeed is conditioned by its churchly character.

  Moreover the experience that a piece of music loses nothing of its character even when the most diverse texts are laid beneath it, shews the relation of Music to Poetry to be a sheer illusion: for it transpires that in vocal music it is not the poetic thought one seizes-which in choral singing, in particular, one does not even get intelligibly articulated-but at most the mood that thought aroused in the musician when it moved him to music. (29) The union of Music and Poetry must therefore always end in such
a subordination of the latter that we can only wonder above all at our great German poets returning again and again to the problem, to say nothing of the attempt. They evidently were instigated by the effect of music in Opera: and here, at any rate, appeared to lie the only field whereon the problem might be solved at last. Now, whether our poets' hopes were directed more to music s formal symmetry of structure, or more to its profoundly stirring effect on the feelings, they obviously could have only proposed to use the mighty aids it seemed to offer to give their poetic aim alike a more precise expression and a more searching operation. They may have thought that Music would gladly render them this service if, in lieu of the trivial operatic subject and opera-text, they brought her a poetic conception to be taken seriously. What continually held them back from serious attempts in this direction may have been a vague, but legitimate doubt whether Poetry would be noticed at all, as such, in its co-operation with Music. Upon careful consideration it cannot have escaped them that in Opera, beyond the music, only the scenic goings-on, but not the explanatory poetic thought, engrossed attention; that Opera, in fact, merely arrested hearing and sight in turn. That a perfect aesthetic satisfaction was not to be gained for either the one receptive faculty or the other, is fully accounted for by the circumstance noted above, namely that opera-music did not attune us to that devotional state (Andacht)-the only one in keeping with Music-in which vision is so far reduced in power that the eye no longer sees objects with the wonted intensity; on the contrary, as found before, we here were but superficially affected, more excited than filled by the music, and consequently desired to see something too,-by no means to think, however, for our whole faculty of thought was stolen from us by just that shuttlecock desire for entertainment, thrown hither and thither in its distracting battle with tedium.

  Now the foregoing considerations have made us sufficiently familiar with Beethoven's specific nature, to under stand at once the master's attitude toward Opera when he categorically refused to ever set an opera-text of frivolous tendency. Ballets, processions, fireworks, amorous intrigues etc., to make music for such as these he declined with horror. His music required a whole, a high-souled, passionate plot, to search it through and through. What poet could have offered him the needful hand? One solitary trial brought him into contact with a dramatic situation that at least had nothing of the hated frivolity about it, and moreover quite harmonised with the master's leading dogma of Humanity through its glorification of wifely troth. And yet this opera-subject embraced so much that was foreign to Music and unassimilable, that in truth the great Overture to Leonora alone makes really plain to us how Beethoven would have the drama understood. Who can ever hear that thrilling tone-piece without being filled with the conviction that Music includes within itself the most consummate Drama? What is the dramatic action of the librettist's opera "Leonora" but an almost repulsive watering of the drama we have lived through in its overture, a kind of tedious commentary by Gervinus on a scene of Shakespeare's?

  But the feeling that here occurs to everyone can only. be made a matter of clear knowledge by our returning to the philosopher's explanation of Music itself.

  Seeing that Music does not portray the Ideas inherent in the world's phenomena, but is itself an Idea of the World, and a comprehensive one, it naturally includes the Drama in itself; as Drama, again, expresses the only world's-Idea proportionate (adäquat) to Music. Drama towers above the bounds of Poetry in exactly the same manner as Music above those of every other art, and especially of plastic art, through its effect residing solely in the Sublime. As a drama does not depict human characters, but lets them display their immediate selves, so a piece of music gives us in its motive. The character of all the world's appearances according to their inmost essence (An-sich). Not only are the movement, interchange and evolution of these motives analogous to nothing but the Drama, but a drama representing the [world's] Idea can be understood with perfect clearness through nothing but those moving, evolving and alternating motives of Music's. We consequently should not go far astray, if we defined Music as man's qualification a priori for fashioning the Drama. Just as we construct for ourselves the world of semblances through application of the laws of Time and Space existing a priori in our brain, so this conscious representment of the world's Idea in Drama would thus be foreordained by those inner laws of Music, operating in the dramatist equally unconsciously with the laws of Causality we bring into employment for apperception of the phenomenal world.

  It was a presage of precisely this, that occurred to our great German poets; and perhaps in that guess they gave voice withal to the hidden reason of the impossibility of explaining Shakespeare by other methods. This prodigy of a dramatist in fact was comprehensible by no analogy with any poet you please; for which reason, also, all aesthetic judgment of him has remained as yet unbased. His dramas seem to be so direct a transcript of the world, that the artist's intervention in their portrayal of the Idea is absolutely untraceable, and certainly not demonstrable by criticism. So, marvelled at as products of a superhuman genius, they became to our great poets a study for discovery of the laws of their creation wellnigh in the same manner as the wonders of Nature herself.

  With that extraordinary sincerity of his every touch, the height to which Shakespeare towered above the Poet proper often comes out ruggedly enough; in the scene where Brutus and Cassius fall a-quarrelling (Julius Cæsar), for instance, we find the poet positively treated as a "jigging fool." Nowhere do we meet the "poet" Shakespeare, save in the inmost heart of the characters that move before us in his dramas.-Shakespeare therefore remained entirely beyond comparison, until in Beethoven the German genius brought forth a being only to be explained through his analogy.-If we take the whole impression left by Shakespeare's world of shapes upon our inner feeling, with the extraordinary relief of every character that moves therein, and uphold to it the sum-total of Beethoven's world of motives, with their ineluctable incisiveness and definition, we cannot but see that the one of these worlds completely covers the other, so that each is contained in each, no matter how remote may seem their orbits.

  To make this operation easier, let us cite the instance where Beethoven and Shakespeare join hands over the same subject, the Overture to Coriolanus. If we recall to mind the impression made upon us by the figure of Coriolanus in Shakespeare's drama, and from all the details of the complicated plot first single that which lingered with us through its bearing on the principal character, we shall see one solitary shape loom forth: the defiant Coriolanus in conflict with his inmost voice, that voice which only speaks the more unsilenceably when issuing from his mother's mouth; and of the dramatic development there will remain but that voice's victory over pride, the breaking of the stubbornness of a nature strong beyond all bounds. For his drama Beethoven chooses nothing but these two chief-motives, which make us feel more surely than all abstract exposition the inmost essence of that pair of characters. Then if we devoutly follow the movement developing solely from the opposition of these two motives in strict accordance with their musical character, and allow in turn the purely-musical detail to work upon us-the lights and shades, the meetings and partings of these two motives,-we shall at like time be following the course of a drama whose own peculiar method of expression embraces all that held our interest, the complex plot and clash of minor characters, in the acted work of the playwright. What gripped us there as an action set immediately before us, almost lived through by ourselves, we here receive as inmost kernel of that action; there set forth by characters with all the might of nature-forces, it here is just as sharply limned by the musician's motives, identical in inmost essence with the motives at work in those characters. Merely in the one sphere those, in the other these, laws of movement and dimension take effect.

  We have called Music the revelation of the inner vision of the Essence of the world, and Shakespeare we might term a Beethoven who goes on dreaming though awake. What holds their spheres asunder, are the formal conditions of the laws of appercepti
on obtaining in each. The perfect art-form would therefore have to take its rise from the point where those respective laws could meet. Now, what makes Shakespeare at once so incomparable and so inexplicable, is this: those Forms which bound the plays of great Calderon himself to prim conventionality, and made them strictly artist's-works, he saturated with such life that they seem dissolved away by Nature: no longer do we think we see fictitious men, but real live men before us; and yet they stand so wondrous far from us, that we cannot but deem material contact with them as impossible as if we were looking at ghosts.-Seeing, then, that Beethoven is the very counterpart of Shakespeare even in his attitude towards the formal laws of his art, his fulfilling abrogation of them, we perhaps may gain the clearest notion of that point where their two spheres would touch, or melt into each other, if we take our philosopher once more for guide, and proceed to the goal of his Dream-theory, his hypothesis of ghostly apparitions.

  Here our business would lie less with the metaphysical, than the physiologic explanation of so-called "second sight." We have already cited our philosopher's theory that the Dream-organ is situate in that portion of the brain which responds to impressions received from the operations of the inner organism in profound sleep, and responds in a manner analogous to the effect produced by waking impressions from the outer world on the portion of the brain immediately connected with the organs of sense, now completely at rest. We have also seen that the dream-message received by this inner organ can be transmitted [to the waking consciousness] only through a second type of dream, a dream that directly precedes our wakening, and which can render in none but an allegoric form the contents of the first; and the reason was, that, even in the preparatory stage of the brain's awaking to external objects, the forms of perception pertaining to the phenomenal world, such as Space and Time, must already be brought into play, and thus construct an image akin to the experiences of daily life.-Further, we have compared the work of the Musician to the clairvoyante's hypnotic vision (dem Gesichte der hellsehend gewordenen Somnambule), as the direct transcript of the inmost dream [Wahrtraum-lit. "true-dream "] beheld by her and now imparted, in her most active state of clairvoyance, to those outside; and we have found the channel for this message by following the genesis and evolution of the world of Sound.-Still pursuing our analogy, with this physiologic phenomenon of hypnotic clairvoyance let us couple its fellow, that of ghost-seeing, and borrow from Schopenhauer, again, his hypothesis that it is a state of clairvoyance occurring in the waking brain; that is to say, it results from a temporary reduction in the waking power of sight, whose clouded eyes are now made use of by the inner impulse to impart to the form of consciousness most near to waking the message of the inmost veridical dream. (30) This shape, projected before the eye from within, belongs in nowise to the material world of Appearance; yet it appears to the ghost-seer with all the signs and tokens of actual life. With this projection of the inner image before the waking eye- an act the inner will can accomplish only in rare and extraordinary cases-let us now compare the work of Shakespeare; and we shall find him to be the ghost-seer and spirit-raiser, who from the depths of his own inner consciousness conjures the shapes of men from every age, and sets them before his waking eye and ours in such a fashion that they seem to really live.