"I must confess," he writes to Roeckel, "to having arrived at a clear understanding of my own works of art through the help of another, who has provided me with the reasoned conceptions corresponding to my intuitive principles."Schopenhaur, however, had done nothing of the sort.Wagner's determination to prove that he had been a Schopenhaurite all along without knowing it only shows how completely the fascination of the great treatise on The Will had run away with his memory.It is easy to see how this happened.Wagner says of himself that "seldom has there taken place in the soul of one and the same man so profound a division and estrangement between the intuitive or impulsive part of his nature and his consciously or reasonably formed ideas." And since Schopenhaur's great contribution to modern thought was to educate us into clear consciousness of this distinction--a distinction familiar, in a fanciful way, to the Ages of Faith and Art before the Renascence, but afterwards swamped in the Rationalism of that movement--it was inevitable that Wagner should jump at Schopenhaur's metaphysiology (I use a word less likely to be mistaken than metaphysics) as the very thing for him.But metaphysiology is one thing, political philosophy another.The political philosophy of Siegfried is exactly contrary to the political philosphy of Schopenhaur, although the same clear metaphysiological distinction between the instinctive part of man (his Will) and his reasoning faculty (dramatized in The Ring as Loki) is insisted on in both.The difference is that to Schopenhaur the Will is the universal tormentor of man, the author of that great evil, Life; whilst reason is the divine gift that is finally to overcome this life-creating will and lead, through its aboegation, to cessation and peace, annihilation and Nirvana.
This is the doctrine of Pessimism.Now Wagner was, when he wrote The Ring, a most sanguine revolutionary Meliorist, contemptuous of the reasoning faculty, which he typified in the shifty, unreal, delusive Loki, and full of faith in the life-giving Will, which he typified in the glorious Siegfried.Not until he read Schopenhaur did he become bent on proving that he had always been a Pessimist at heart, and that Loki was the most sensible and worthy adviser of Wotan in The Rhine Gold.
Sometimes he faces the change in his opinions frankly enough."My Niblung drama," he writes to Roeckel, "had taken form at a time when I had built up with my reason an optimistic world on Hellenic principles, believing that nothing was necessary for the realization of such a world but that men should wish it.Iingeniously set aside-the problem why they did not wish it.Iremember that it was with this definite creative purpose that Iconceived the personality of Siegfried, with the intention of representing an existence free from pain." But he appeals to his earlier works to show that behind all these artificial optimistic ideas there was always with him an intuition of "the sublime tragedy of renunciation, the negation of the will." In trying to explain this, he s full of ideas philosophically, and full of the most amusing contradictions personally.Optimism, as an accidental excursion into the barren paths of reason on his own part, he calls "Hellenic." In others he denounces it as rank Judaism, the Jew having at that time become for him the whipping boy for all modern humamty.In a letter from London he expounds Schopenhaur to Roeckel with enthusiasm, preaching the renunciation of the Will to Live as the redemption from all error and vain pursuits: in the next letter he resumes the subject with unabated interest, and fin~shes by mentioning that on leaving London he went to Geneva and underwent "a most beneficial course of hydropathy." Seven months before this he had written as follows: "Believe me, I too was once possessed by the idea of a country life.In order to become a radically healthy human being, I went two years ago to a Hydropathic Establishment, prepared to give up Art and everything f I could once more become a child of Nature.But, my good friend, I was obliged to laugh at my own *****te when I found myself almost going mad.None of us will reach the promised land: we shall all die in the wilderness.
Intellect is, as some one has said, a sort of disease: it is incurable.
Roeckel knew his man of old, and evidently pressed him for explanations of the inconsistencies of The Ring with Night Falls On The Gods.Wagner defended himself with unfailing cleverness and occasional petulances, ranging from such pleas as "I believe a true instinct has kept me from a too great definiteness; for it has been borne in on me that an absolute disclosure of the intention disturbs true insight," to a volley of explanations and commentaries on the explanations.He gets excited and annoyed because Roeckel will not admire the Brynhild of Night Falls On The Gods; re-invents the Tarnhelm scene; and finally, the case being desperate, exclaims, "It is wrong of you to challenge me to explain it in words: you must feel that something is being enacted that is not to be expressed in mere words."
