Such, briefly told, is the story of Richard Wagner and Modern Music. The "music of the future" has become the music of the present. What the future will bring no one can tell. Croakers say, as they have always said, that the race of giants has died out. But who knew, fifty years ago, that Wagner and Liszt, or even their predecessors, Chopin and Schumann, and the song specialist, Robert Franz, were giants? We know it now, and future generations will know whether we have giants among us. Things of beauty that will be a joy forever have been created by men of genius now living in Europe; such men as the Norwegian Grieg, the Bohemian Dvorák, the French Saint-Saëns and Massenet, the Hungarian Goldmark, the German Humperdinck and Richard Strauss, the Polish Paderewski. England has more good composers and listeners than it ever had before; and the same is true of America. We have no school of opera yet, but the best operettas of Victor Herbert and De Koven deserve mention by the side of those of the French. Offenbach, Lecocq, and Audran, the Viennese Strauss, Suppé, and Milloecker, the English Sullivan. The orchestral compositions of our John K. Paine are masterworks, and the songs and pianoforte pieces of MacDowell are equal to anything produced in Europe since Chopin and Franz. We have several other men of great promise, and altogether the outlook for America, as well as for Europe, is bright.
AUTHORITIES
The books, pamphlets, and newspaper articles on Wagner would fill a library. He has been more written about than any writers except Shakspere, Goethe, and Dante. He was also fond of writing about himself. His autobiography (extending only to 1865) has not yet been given to the public; but there are many autobiographic pages in the ten volumes of his literary works, which have been Englished by Ellis. Of great value are Wagner's letters to Liszt and to other friends. These were utilized for the first time in "Wagner and His Works," the most elaborate biography in the English language, by the author of the foregoing article. Shorter American and English books on Wagner have been written by Kobbé, Krehbiel, Henderson, Hueffer, Newman, &c. Of French writers Lavignac, Jullien, Mendès, Servières, Schuré, may be mentioned. Of great value are Kufferath's monographs on the Wagner operas and Liszt's analyses. In Germany the standard work of reference is the third edition of Glasenopp, in six volumes, four of which are now (1902) in print. Other German writers are Porges, Wolzogen, Pohl, Nohl, Tappert, Chamberlain, &c. The best histories of Modern Music in general are Langhaus's larger work and Riemann's "Geschichte der Musik seit Beethoven." The best general work for reference is "Great Composers and Their Works," edited by Professor Paine of Harvard. References to about 10,000 articles on Wagner may be found in Oesterlein's "Katalog Einer Richard Wagner Bibliothek," 3 vols.
JOHN RUSKIN
1819-1900MODERN ARTBY G. MERCER ADAMWhat John Ruskin has done in a prosaic, commercial, and Philistine age, in teaching the world to love and study the Beautiful, in opening to it the hidden mysteries and delights of art, and in inciting the passion for taking pleasure in and even possessing embodiments of it, that age owes to the great prose-poet and enthusiastic author of "Modern Painters." Neither before nor since his day has literature known such a passionate and luminous exponent of Nature's beauties, such an inculcator in men's minds of the art of observing her ways and methods, or one who has given the world such deep insight into what constitutes the true and the beautiful in art. For these things, and for opening new worlds of instruction and delight to his age in the realm of art, heightened by the charm of his marvellous prose, we can readily pardon Ruskin for his weaknesses and perverseness,for his dogmatisms, his fervors, and ecstasies, his exaggerations of praise and blame, and even for the missionary propagation of his often unsound economic gospel, valuable though it may be in illustrating and enforcing morality in its aesthetic aspect. Despite his enemies, and all that the critics have said contradicting his theories, Ruskin was a surprise and a revelation to his time. In not a little of all that he said and did, it is true, we cannot concur; nor can we fail to see the errors he fell into through his want of reserve and his headlong haste to say and do the things he said and did; nevertheless, he was a great and inspiring teacher in things that appeal to our sense of the beautiful, and earnest in his zeal to raise men's intellectual and moral standard of life. Like most enthusiasts and geniuses, he had, now and then, his hours of reaction, waywardness, and gloom; but there was much that was noble and ennobling in the man, as well as rich and fructifying in his thought. Even in his social and moral exhortations, tinctured as they are with medievalism, and however much we may here again disagree with him, he had much that was uplifting and inspiring to say to his time,a time that had great need of his apostolic counsellings and his fervent inculcations of morality, industry, religion, and humanity.
Throughout Mr. Ruskin's worksand they are amazingly manifolda strong and intense purpose runs, given to the highest and noblest ends; and though their author at times wearies his reader by his diffuseness and his digressions, and to some is almost fanatical in his reverence for art, he is ever imaginative and eloquent, and has created for us a new, instructive, and uniquely fresh and thoughtful body of art-literature. The truth of infinite value he teaches is "realism,"the doctrine that all truth and beauty are to be attained by a reverent and faithful study of nature, and not, as a reviewer expresses it, "by substituting vague forms, bred by imagination on the mists of feeling, in place of definite, substantial reality. The thorough acceptance of this doctrine would remould our life; and he who teaches its application, even to any single department of human activity, and with such power as Mr. Ruskin's, is a prophet for his generation." In all his various labors and aims, Mr. Ruskin set before himself a high, if somewhat quixotic, ideal of life, and with great earnestness did much, not only for the elevation of his fellow-men, but for the development of sound artistic taste and the enriching and spiritualizing of life by seeking to surround it at all times with the true and the beautiful, and with the old-time virtues of purity, manliness, and courage.
Among the "Beacon Lights" of the age there can be no question that Ruskin is worthy of an exalted place, since few men of our modern time, rich as it is in eminent thinkers and writers, has done more than he to illumine the many subjects with which he has so fascinatingly dealt,and that not only in art and its cult of the Beautiful, but in ethics, education, and political economy. The energies, activities, and impulses he constantly put forth, as well as the high principles that ever guided him in his earnest endeavor to improve the intellectual and moral condition of his kind, mark his era as a great artistic epoch in the onward and upward progress of the race. By stimulus, suggestion, and inspiration he has powerfully influenced his time, though manifestly not a little of the seed he abundantly and hopefully scattered has fallen upon barren ground. Nevertheless, where the seed has fallen and germinated, the yield has been large: "his spirit has passed far wider than he ever knew or conceived; and his words, flung to the winds, have borne fruit a hundredfold in lands that he never thought of or designed to reach." With what pride and gratitude should not the age regard him and his memory,one who has quickened the sensibilities of men in looking upon nature; opened our dull eyes to its manifold beauties; made plain to the average intelligence what Art is and stands for; implanted in our souls worship of the beautiful; shown workingmen how to use their tools in the highest interests of their craft, and taught maidens what and how to read as well as how and in what spirit to sew and cook. The world too often acknowledges its true teachers and prophets only when it begins to build them some belated tomb. "This, at any rate," gratefully exclaims Frederic Harrison,1 "we will not suffer to be done to John Ruskin."
"We may all of us recall to-day with love and gratitude the enormous mass of stirring thoughts and melodious speech about a thousand things, divine and human, beautiful and good, which for a whole half-century the author of 'Modern Painters' has given to the world. They cover every phase of nature, every type of art, of history, society, economics, religion; the past and the future; all rules of human duty, whether personal or social, domestic or national.... He spake to us of trees, from the cedar of Lebanon unto the hyssop on the wall; he spake also of beasts, and of fowl, and of creeping things, and of fishes. He has put new beauty for us into the sky and the clouds and the rainbow, into the seas at rest or in storm, into the mountains and into the lakes, into the flowers and the grass, into crystals and gems, into the mightiest ruins of past ages, and into the humblest rose upon a cottage wall. He has done for the Alps and the cathedrals of Italy and France, for Venice and Florence, what Byron did for Greece. We look upon them all now with new and more searching eyes. Whole schools of art, entire ages of old workmanship, the very soul of the Middle Age, have been revealed with a new inspiration and transfigured in a more mysterious light. Poetry, Greek sculpture, mediaeval worship, commercial morality, the training of the young, the nobility of industry, the purity of the home,a thousand things that make up the joy and soundness of human life have been irradiated by the flashing searchlight of one ardent soul: irradiated, let us say, as this dazzling ray shot round the horizon, glancing from heaven to earth, and touching the gloom with fire. We need not, even today, be tempted from truth, or pretend that the light is permanent or complete. It has long ceased to flash round the welkin, and its very scintillations have disturbed our true vision. But we remember still its dazzling power and its revelation of things that our eyes had not seen.
"What we especially love to dwell on to-day is this: that in all this unrivalled volume of printed thoughts, in this encyclopaedic range of topic by this most voluminous and most versatile of modern writers [may we not say of all English writers?] there is not one line that is base, or coarse, or frivolous; not a sentence that was framed in envy, malice, wantonness, or cruelty; not one piece that was written to win money, or popularity, or promotion; not a line composed for any selfish end or in any trivial mood. Think what we may of this enormous library of print, we know that every word of it was put forth of set purpose without any hidden aim, utterly without fear, and wholly without guile; to make the world a little better, to guide, inspire, and teach men, come what might, scoff as they would, turn from him as they chose, though they left him alone, a broken old man crying in the wilderness, with none to hear or to care. They might think it all utterly vain; we may think much of it was in vain: but it was always the very heart's blood of a rare genius and a noble soul."
Before entering, somewhat in detail, into Ruskin's vast and varied labors, let us briefly outline the scope and character of the work which gave the art critic and prophet of his time his chief fame. The personal incidents in his life need not detain us at the outset, as they are not specially eventful, and may be more fully gathered from the excellent "Life" of Ruskin, by his friend and some-time secretary, W.G. Collingwood, or from the delightfully interesting reminiscences by the master himself in his autobiographic "Praeterita," published near the close of his long, arduous, and fruitful career. John Ruskin was born in London on the 8th of February, 1819. He was of Scotch ancestry, his father being a prosperous wine merchant in London, who acquired considerable wealth in trade, which the son in time inherited, and nobly used in his many private benevolences and philanthropic enterprises. The comfortable circumstances in which he was born, coupled with his father's own love of pictures and books, were helpful in giving encouragement and direction to the young student's studies and tastes. His mother, a deeply religious woman, was, moreover, influential in implanting the serious element in Ruskin's character and life, and in familiarizing him with the Bible, whose noble English, in King James' version, manifestly entered early into the youth's ardent, prophetic soul, and, as a writer, had much to do in forming his magnificent prose style. Ruskin was in early yearsindeed, far on in his manhoodin delicate health, and consequently he was educated privately till he passed to Christ Church College, Oxford, where, at the age of twenty, he won the Newdigate prize for verse, and graduated in 1842. His taste for art was manifested at an early age, and after passing from the university he studied painting under J.D. Harding and Copley Fielding; but his masters, as he tells us in "Praeterita," were Rubens and Rembrandt.
At the outset of his career Ruskin, as is well known, was led to take up a defence of J.M.W. Turner (1775-1851) and the contemporary school of English landscape-painting against the foreign trammels, which had fastened themselves upon modern art, and especially to prove the superiority of modern landscape-painters over the old masters. This revolutionary opinion, though at first it was hotly contested, established the new critic's position as a writer on art, and the defence, or exposition rather, grew into the famous work called "Modern Painters" (5 vols., 1843-60). This elaborate work deals with general aesthetic principles, and, notwithstanding its occasional extravagances, alike of praise and censure, its charm is irresistible, presenting us with its brilliant and original author's ideas of beauty, to which he freshly and powerfully awakened the world, while enshrining throughout the work the most enchanting word-poems on mountain, leaf, cloud, and sea, which, it is not too much to say, will live forever in English literature. In the second volume Mr. Ruskin takes up the Italian painters, and discusses at length the merits of their respective schools; in the others, as well as in the work as a whole, we have a body of principles which should govern high art-work, as well as new ideas as to what should constitute the equipment of the painter, and that not only as regards the technique of his art, but in the effect to be produced on the onlooker in viewing the skilled work of one who, above all accomplishments, should be lovingly and intimately in contact with nature.
From the study of painting Mr. Ruskin passed for a time to that of architecture. In this department we have from his pen "The Seven Lamps of Architecture" (1849) and "The Stones of Venice" (1851-53). In these two complementary works their author sets forth as in an impressive sermon the new and admonitory lesson that architecture is the exponent of the national characteristics of a people,the higher and nobler sort exemplifying the religious life and moral virtue in a nation, the debased variety, on the other hand, expressing the ignoble qualities of national vice and shame. The text of "The Stones" is Venice, and the design of the volumes, in the author's words, is to show that the Gothic architecture of Venice "had arisen out of, and indicated, a state of pure domestic faith and national virtue;" while its renaissance architecture "had arisen out of and indicated a state of concealed national infidelity and domestic corruption." The earlier work, "The Seven Lamps,"the Lamp of Sacrifice, of Truth, Power, Beauty, Life, Memory, Obedience,looks upon architecture "as the revealing medium or lamp through which flame a people's passions,the embodiment of their polity, life, history, and religious faith in temple and palace, mart and home." Akin to these two eloquent works, in which their author thoughtfully sets forth the civic virtues and moral tone, as well as the debased characteristics, by which architecture is produced at certain eras in a people's life, is the earlier volume on "The Poetry of Architecture" (1837), which discusses the relation between architecture and its setting of landscape or other environment, illustrated by examples drawn from regions he had visited,the English Lakeland, France, Switzerland, Spain, and northern Italy.