It is this bold revel
in the neglected sanctuary of the art that is most inspiriting for the
future. And as in all true poetry, this overleaping audacity of design
is a mere expression of simplest gaiety.
CHAPTER XVIII
RICHARD STRAUSS[A]
[Footnote A: Born in 1864.]
Much may be wisely written on the right limits of music as a depicting
art. The distinction is well drawn between actual delineation, of figure
or event, and the mere suggestion of a mood. It is no doubt a fine line,
and fortunately; for the critic must beware of mere negative philosophy,
lest what he says cannot be done, be refuted in the very doing. If
Lessing had lived a little later, he might have extended the principles
of his "Laocoeon" beyond poetry and sculpture into the field of music.
Difficult and ungrateful as is the task of the critical philosopher, it
must be performed. There is every reason here as elsewhere why men
should see and think clearly.
It is perhaps well that audiences should cling to the simple verdict of
beauty, that they should not be led astray by the vanity of finding an
answer; else the composer is tempted to create mere riddles. So we may
decline to find precise pictures, and content ourselves with the music.
The search is really time wasted; it is like a man digging in vain for
gold and missing the sunshine above.
Strauss may have his special meanings. But the beauty of the work is
for us all-important.
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