Part 7 (1/2)

32.

When a dramatist speaks about himself he plays a part: this is inevitable.

When Wagner speaks about Bach and Beethoven he speaks like one for whom he would fain be taken. But he impresses only those who are already convinced, for his dissimulation and his genuine nature are far too violently at variance.

33.

Wagner struggles against the ”frivolity” in his nature, which to him the ign.o.ble (as opposed to Goethe) const.i.tuted the joy of life.

34.

Wagner has the mind of the ordinary man who prefers to trace things to _one_ cause. The Jews do the same: one _aim_, therefore one Saviour. In this way he simplifies German and culture; wrongly but strongly.

35.

Wagner admitted all this to himself often enough when in private communion with his soul. I only wish he had also admitted it publicly. For what const.i.tutes the greatness of a character if it is not this, that he who possesses it is able to take sides even against himself in favour of truth.

_Wagner's Teutonism._

36.

That which is un-German in Wagner. He lacks the German charm and grace of a Beethoven, a Mozart, a Weber; he also lacks the flowing, cheerful fire (_Allegro con brio_) of Beethoven and Weber. He cannot be free and easy without being grotesque. He lacks modesty, indulges in big drums, and always tends to surcharge his effect. He is not the good official that Bach was. Neither has he that Goethean calm in regard to his rivals.

37.

Wagner always reaches the high-water mark of his vanity when he speaks of the German nature (incidentally it is also the height of his imprudence); for, if Frederick the Great's justice, Goethe's n.o.bility and freedom from envy, Beethoven's sublime resignation, Bach's delicately transfigured spiritual life,-if steady work performed without any thought of glory and success, and without envy, const.i.tute the true _German_ qualities, would it not seem as if Wagner almost wished to prove he is no German?

38.