Part 6 (1/2)

XII.

But I doubt very much whether this is true. It is possible that the music of Wagner may eventually become serene like the music of Handel; but was the music of Handel ever morbid like the music of Wagner?

I do not base my belief on any preference from Handel's contemporaries. We may, as we are constantly being told, be _degenerates_; but there was no special grace whence to degenerate in our perruked forefathers. Moreover, I believe that any very spontaneous art is to a very small degree the product of one or even two or three generations of men. It has been growing to be what it is for centuries and centuries. Its germ and its necessities of organism and development lie far, far back in the soul's world-history; and it is but later, if at all, when the organic growth is at an end, that times and individuals can fas.h.i.+on it in their paltry pa.s.sing image.

No; we may be as strong and as pure as Handel's audiences, and our music yet be less strong and pure than theirs.

My reason for believing in a fundamental emotional difference between that music and ours is of another sort. I think that in art, as in all other things, the simpler, more normal interest comes first, and the more complex, less normal, follows when the simple and normal has become, through familiarity, the insipid. While pleasure unspiced by pain is still a novelty there is no reason thus to spice it.

XIII.

The question can, however, be tolerably settled by turning over the means which enable music to awaken emotion--emotion which we recognise as human, as distinguished from the mere emotion of pleasure attached to all beautiful sights and sounds. Once we have understood what these means are, we can enquire to what extent they are employed in the music of various schools and epochs, and thus judge, with some chance of likelihood, whether the music which strikes us as serene and vigorous could have affected our ancestors as turbid and enervating.

'Tis a dull enough psychological examination; but one worth making, not merely for the sake of music itself, but because music, being the most emotional of all the arts, can serve to typify the good or mischief which all art may do, according to which of our emotions it fosters.

'Tis repeating a fact in different words, not stating anything new, to say that all beautiful things awaken a specific sort of emotion, the emotion or the mood of the beautiful. Yet this statement, equivalent to saying that hot objects give us the sensation of heat, and wet objects the sensation of wetness, is well worth repeating, because we so often forget that the fact of beauty in anything is merely the fact of that thing setting up in ourselves a very specific feeling.

Now, besides this beauty or quality producing the emotion of the beautiful, there exist in things a lot of other qualities also producing emotion, each according to its kind; or rather, the beautiful thing may also be qualified in some other way, as the thing which is useful, useless, old, young, common, rare, or whatever you choose. And this coincidence of qualities produces a coincidence of states of mind. We shall experience the feeling not merely of beauty because the thing is beautiful, but also of surprise because it is startling, of familiarity because we meet it often, of attraction (independently of beauty) because the thing suits or benefits us, or of repulsion (despite the beauty) because the thing has done us a bad turn or might do us one. This is saying that beauty is only one of various relations possible between something not ourselves and our feelings, and that it is probable that other relations between them may exist at the same moment, in the same way that a woman may be a man's wife, but also his cousin, his countrywoman, his school-board representative, his landlady, and his teacher of Latin, without one qualification precluding the others.

Now, in the arts of line, colour, and projection, the arts which usually copy the appearance of objects existing outside the art, these other qualities, these other relations between ourselves and the object which exists in the relation of beauty, are largely a matter of superficial a.s.sociation--I mean, of a.s.sociation which may vary, and of which we are most often conscious.

We are reminded by the picture or statue of qualities which do not exist in it, but in its prototype in reality. A certain face will awaken disgust when seen in a picture, or reverence or amus.e.m.e.nt, besides the specific impression of beauty (or its reverse), because we have experienced disgust, awe, amus.e.m.e.nt in connection with a similar face outside the picture.

So far, therefore, as art is imitative, its non-artistic emotional capacities are due (with a very few exceptions) to a.s.sociation; for the feelings traceable directly to fatigue or disintegration of the perceptive faculty usually, indeed almost always, prevent the object from affecting us as beautiful. It is quite otherwise when we come to music. Here the coincidence of other emotion resides, I believe, not in the _musical thing itself_, not in the musician's creation without prototype in reality, resembling nothing save other musical structures; the coincidence resides in the elements out of which that structure is made, and which, for all its complexities, are still very strongly perceived by our senses. For instance, certain rhythms existing in music are identical with, or a.n.a.logous to, the rhythm of our bodily movements under varying circ.u.mstances: we know alternations of long and short, variously composed regularities and irregularities of movement, fluctuations, reinforcements or subsidences, from experience other than that of music; we know them in connection with walking, jumping, dragging; with beating of heart and arteries, expansion of throat and lungs; we knew them, long before music was, as connected with energy or oppression, sickness or health, elation or depression, grief, fear, horror, or serenity and happiness.

And when they become elements of a musical structure their a.s.sociations come along with them. And these a.s.sociations are the more powerful that, while they are rudimentary, familiar like our own being, perhaps even racial, the musical structure into which they enter is complete, individual, _new_: 'tis comparing the efficacy of, say, Mozart Op. So-and-so, with the efficacy of somebody sobbing or dancing in our presence.

So far for the a.s.sociational power of music in awakening emotions. But music has another source of such power over us. Existing as it does in a sequence, it is able to give sensations which the arts dealing with s.p.a.ce, and not with time, could not allow themselves, since for them a disagreeable effect could never prelude an agreeable one, but merely co-exist with it; whereas for music a disagreeable effect is effaceable by an agreeable one, and will even considerably heighten the latter by being made to precede it. Now we not merely a.s.sociate fatigue or pain with any difficult perception, we actually feel it; we are aware of real discomfort whenever our senses and attention are kept too long on the stretch, or are stimulated too sharply by something unexpected. In these cases we are conscious of something which is exhausting, overpowering, unendurable if it lasted: experiences which are but too familiar in matters not musical, and, therefore, evoke the remembrance of such non-musical discomfort, which reacts to increase the discomfort produced by the music; the reverse taking place, a sense of freedom, of efficiency, of strength arising in us whenever the object of perception can be easily, though energetically, perceived. Hence intervals which the ear has difficulty in following, dissonances to which it is unaccustomed, and phrases too long or too slack for convenient scansion, produce a degree of sensuous and intellectual distress, which can be measured by the immense relief--relief as an acute satisfaction--of return to easier intervals, of consonance, and of phrases of normal rhythm and length.

Thus does it come to pa.s.s that music can convey emotional suggestions such as painting and sculpture, for all their imitations of reality, can never match in efficacy; since music conveys the suggestions not of mere objects which may have awakened emotion, but of emotion itself, of the expression thereof in our bodily feelings and movements. And hence also the curious paradox that musical emotion is strong almost in proportion as it is vague. A visible object may, and probably will, possess a dozen different emotional values, according to our altering relations therewith; for one relation, one mood, one emotion succeeds and obliterates the other, till nothing very potent can remain connected with that particular object. But it matters not how different the course of the various emotions which have expressed themselves in movements of slackness, agitation, energy, or confusion; it matters not through what circ.u.mstances our vigour may have leaked away, our nerves have been harrowed, our attention worn out, so long as those movements, those agitations, slackenings, oppressions, reliefs, fatigues, harrowings, and reposings are actually taking place within us. In briefer phrase, while painting and sculpture present us only with objects possibly connected with emotions, but probably connected with emotions too often varied to affect us strongly; music gives us the actual bodily consciousness of emotion; nay (in so far as it calls for easy or difficult acts of perception), the actual mental reality of comfort or discomfort.

XIV.

The emotion uppermost in the music of all these old people is the specific emotion of the beautiful; the emotional possibilities, latent in so many elements of the musical structure, never do more than qualify the overwhelming impression due to that structure itself. The music of Handel and Bach is beautiful, with a touch of awe; that of Gluck, with a tinge of sadness; Mozart's and his contemporaries' is beautiful, with a reminiscence of all tender and happy emotions; then again, there are the great Italians of the seventeenth and eighteenth centuries, Carissimi, Scarlatti the elder, Marcello, whose musical beauty is oddly emphasised with energy and sternness, due to their powerful, simple rhythms and straightforward wide intervals. But whatever the emotional qualification, the chief, the never varying, all-important characteristic, is the beauty; the dominant emotion is the serene happiness which beauty gives: happiness, strong and delicate; increase of our vitality; evocation of all cognate beauty, physical and moral, bringing back to our consciousness all that which is at once wholesome and rare. For beauty such as this is both desirable and, in a sense, far-fetched; it comes naturally to us, and we meet it half-way; but it does not come often enough.

Hence it is that the music of these masters never admits us into the presence of such feelings as either were better not felt, or at all events, not idly witnessed. There is not ever anything in the joy or grief suggested by this music, in the love of which it is an expression, which should make us feel abashed in feeling or witnessing. The whole world may watch _Orpheus_ or _Alcestis_, as the whole world may stand (with Bach or Pergolese to make music) at the foot of the Cross. But may the whole world sit idly watching the raptures and death-throes of Tristram and Yseult?

Surely the world has grown strangely intrusive and unblus.h.i.+ng.

XV.

I have spoken of this old music as an expression of love; and this, in the face of the emotional effects of certain modern composers, may make some persons smile.