Secondly, we have now introduced as a fresh constituent of composition declamatory characterization; it will therefore be necessary to consider this in its relation to the principle, which we, in the first instance, identified as that of melody.
Thirdly, we must endeavour to specify the more prominent modes under which we may review this type of musical expression.
(αα) Music[466] is not merely in a general way an accompaniment of the content of a work in a sphere which already engages our attention, but it is part of its function, as already observed, to define still further the characterization of such a work. It is consequently an injurious assumption that the construction of the libretto is a matter of indifference to the musical composition. We find, on the contrary, that really distinguished musical compositions presuppose an excellent libretto, carefully selected by the composers or actually written by them. It is impossible that an artist should treat with indifference the material with which he is dealing and a musician least of all, precisely in the degree that poetry has already worked out and settled for him the epic, lyrical, or dramatic configuration of the content in question.
What is of first importance in the construction of a good text is this that its content should be stamped by essential self-consistency.[467] It is impossible that music should conjure forth an artistic product of real strength and penetration from what is commonplace, trivial, barren, or absurd. With all the spices and seasonings in the world your musical chef will never make a hare pie out of a roasted cat. In the case of song compositions no doubt the nature of the words is less decisive, yet even here we require words with a really genuine content. From a further point of view, however, it is equally necessary that such a content should not tax our reflection too much, or aspire to philosophical profundity, as is rather the case with the lyrics of Schiller. In such an example the extraordinary range of pathos exceeds the musical expression of lyrical emotion. The same thing may be said of the choruses of Aeschylus and Sophocles. The penetrative power here displayed in imaginative conception is so exceptional, they are so elaborate in their detail whether regarded in their scenic or ideal presentment, they are already so absolutely complete as poetry that we have nothing left for music to add to them[468]. We have literally no room left us for any further play or exposition of ideal significance or movement beyond that already presented. The more modern material and mode of treatment we find in the so-called romantic poetry are in their type the strongest contrast to these. Their pretension, as a rule, is that of being naive and popular; but we only too frequently find a naïveté which is finical, artificial, and stilted. Instead of pure and genuine emotions we get a simplicitas that is nothing but feeling worked upon and acting under the constraint of reflection; a false kind of yearning and affectation, which is far too complaisant with dulness, stupidity, and vulgarity, and is equally blind to the defects of passions, envy, licence, and even devilish wickedness wholly without ideal content; which is, moreover, as self-satisfied with its assumed excellence in the one case as it is with the dissolution and baseness of the other. Emotion that is spontaneous, simple, thorough, penetrative, is here entirely absent, and music, in any attempt to reproduce it, can suffer no greater injury. We may therefore accept the fact that neither mere depth of thought, nor the vanity or worthlessness of mere emotion can give us a satisfactory content. On the contrary what is most adapted for music is a certain intermediate type of poetry, which we Germans are loth even to admit as poetry, and the true feeling and talent for which is more largely possessed by Italians and Frenchmen. It is a poetry of a genuine lyrical quality, extremely simple, which indicates situations and emotions in a few words. Where it is more dramatic it remains luminous and vital without too involved a development; detail is not so much elaborated, but it is rather, as a rule, concerned to supply general effects, than the completely articulate results of a poet's activity. We find here that the composer receives, in accordance with his demand, merely the general foundation, upon which he can, in subordination to his own invention, and his own threshing out of motives of every kind, erect his building, treating many aspects of the subject as part of his own life and movement. For inasmuch as music has to adapt itself to words, these words should not particularize the picture too closely; if they do the musical declamation becomes absorbed in trifles, lacking in a common impulse, too contracted in the direction of particular features, and the unity and general effect is impaired. In this direction people are only too frequently at fault when expressing an opinion upon the excellence or insufficiency of a libretto. It is one of the most common verdicts, for example, that the libretto of the Magic Flute is hopelessly bad, though this piece of manufacture is nevertheless among the best of opera librettos. Among the many wildly fantastic and commonplace productions of his pen Schickaneder has in this for once hit the right track. The empire of Night, with its queen, the empire of the Sun, these mysteries, these initiations, this Wisdom, Love, these ordeals, and with it all this typically world-wise ethic, excellent in the breadth of its applicability—all this when combined with the depth, the bewitching loveliness and soul of the music expands and floods our imagination, and warms the heart.
To mention further examples, the old Latin texts of great masses and other services are unrivalled for religious music. This is in part due to the fact that they set before us in the greatest simplicity and brevity the most general content of religious faith, in part also to this that they present in the same spirit the varied stages of emotion that accompany the substance of this in the consciousness of the community of the faithful, and by doing both offer the musician a wide field for his own particular development. The great Requiem and many selections from the Psalms are equally serviceable. In a similar way Handel welded his texts, partly from religious dogmas themselves, but, above all, from scriptural passages and situations of symbolical import, into a completely consistent whole.
In the field of lyrical poetry the more suitable for this purpose are the emotional and shorter poems, in particular the simple ones, in content no less than speech, steeped in emotion, which penetrate into one prevailing mood or affection, or those too of lighter and more gay character. There is hardly a nation that does not possess such. In the sphere of drama I will only mention Metastasio, and with him Marmontel the Frenchman, who, himself richly emotional, cultured, and lovable, instructed Piccini in French, and knew so wisely how to combine in the drama grace and vivacity with the skill and interest of the action and development. But before all else we shall do well to emphasize the libretti of the famous operas of Glück. Without exception we shall find their motives simple. The content they offer to the emotions is in a sphere the most sterling of all, depicting as they do the love of mother, wife, sister, friendship, honour, and so forth, and permitting these simple motives and the form of their essential collisions to unfold in an atmosphere of tranquillity. And for this reason the passion they disclose is throughout pure, great, noble, and of plastic simplicity.
(ββ) It is, then, the function of music, by the characterization of its expression no less than its wealth of pure melody, fittingly to reproduce a content of the above nature. And that we may obtain such a result it is not merely necessary that the text contain in itself earnestness of heart, the comic and tragic greatness of human passion, the depth of religious idea and emotion, the powers and fatalities that the human breast discloses, the composer also on his part must be absorbed wholly in the composition, and must have lived in and through it heart and soul.
What is equally important is the relation under which what is characteristic and melodious in such music is on either hand associated. The main point appears to be, that as between them it is the melodic expression which without exception, as the factor of synthetic unity, which gains the day, rather than that which tends to distract and break up the whole into particular characterization. To take an example of the latter case from modern dramatic music, the effect often sought for here is one of powerful contrasts, and this is brought about by forcing into one continuous stream of music, under the conditions of conflict permitted to the art, contrasted passions. We have, it may be, expressed for us jollity, marriage, and festive associations, intermingled with which we may have hate, revenge, hostility, so that for result we are presented a fine uproar in which joviality, delight, dance-music, passionate scolding, and the very extremes of distraction are all involved. But contrasts of interrupted life such as these are, and which tumble us from one side to another, without any principle of union, are opposed to harmonious beauty precisely in the degree that the point of opposition in such characterization is acutely emphasized, and any return of the melody to a real self-repose and self-enjoyment is out of the question. And in general the union of the melodic and characteristic features of such music readily incurs the risk of overstepping the finely drawn boundaries of musical beauty, more especially when the intention is to express force, selfishness, evil, impetuosity, and other extremes of exclusive passion of a similar nature. The moment that music is involved in its abstract task of such characteristic limitation it can hardly avoid making for chaos, becoming, that is to say, more acute, unpliable, and, in fact, thoroughly unmelodious and unmusical, to the extent even of sheer misuse of discord.
A similar result will be found if we look at the different features of characterization generally. I mean that if these are strongly emphasized in their independent form the connection between themselves and other traits is readily weakened and their self-subsistency in repose is at once evident: but in musical exposition our difficulty is, we have an essential movement throughout, and it is in this progression that we are forced to look for the relation of stability; this being so the isolation of effect cannot fail to act injuriously on the flow and unity of the music.