When Wagner passed out of his life Nietzsche sought to cure his loneliness by hard work and "Menschliches allzu Menschliches" was the result. He sent a copy of the first volume to Wagner and on the way it crossed a copy of "Parsifal." In this circumstance is well exhibited the width of the breach between the two men. To Wagner "Menschliches allzu Menschliches" seemed impossibly and insanely radical; to Nietzsche "Parsifal", with all its exaltation of ritualism, was unspeakable. Neither deigned to write to the other, but we have it from reliable testimony that Wagner was disgusted and Nietzsche's sister tells us how much the music-drama of the grail enraged him.
A German, when indignation seizes him, rises straightway to make a loud and vociferous protest. And so, although Nietzsche retained, to the end of his life, a pleasant memory of the happy days he spent at Tribschen and almost his last words voiced his loyal love for Wagner the man, he conceived it to be his sacred duty to combat what he regarded as the treason of Wagner the philosopher. This notion was doubtlessly strengthened by his belief that he himself had done much to launch Wagner's bark. He had praised, and now it was his duty to blame. He had been enthusiastic at the first task, and he determined to be pitiless at the second.
But he hesitated for ten years, because, as has been said, he could not kill his affection for Wagner, the man. It takes courage to wound one's nearest and dearest, and Nietzsche, for all his lack of sentiment, was still no more than human. In the end, however, he brought himself to the heroic surgery that confronted him, and the result was "Der Fall Wagner". In this book all friendship and pleasant memories were put aside. Wagner was his friend of old? Very well: that was a reason for him to be all the more exact and all the more unpitying.
"What does a philosopher firstly and lastly require of himself?" he asks. "To overcome his age in himself; to become timeless! With what, then, has he to fight his hardest fight? With those characteristics and ideas which most plainly stamp him as the child of his age." Herein we perceive Nietzsche's fundamental error. Deceived by Wagner's enthusiasm for Schopenhauer and his early, amateurish dabbling in philosophy, he regarded; the composer as a philosopher. But Wagner, of course, was first of all an artist, and it is the function of an artist, not to reform humanity, but to depict it as he sees it, or as his age sees it—fallacies, delusions and all. George Bernard Shaw, in his famous criticism of Shakespeare, shows us how the Bard of Avon made just such a compromise with the prevailing opinion of his time. Shakespeare, he says, was too intelligent a man to regard Rosalind as a plausible woman, but the theatre-goers of his day so regarded her and he drew her to their taste.[3] An artist who failed to make such a concession to convention would be an artist without an audience. Wagner was no Christian, but he knew that the quest of the holy grail was an idea which made a powerful appeal to nine-tenths of civilized humanity, and so he turned it into a drama. This was not conscious lack of sincerity, but merely a manifestation of the sub-conscious artistic feeling for effectiveness.[4]
Therefore, it is plain that Nietzsche's whole case against Wagner is based upon a fallacy and that, in consequence, it is not to be taken too seriously. It is true enough that his book contains some remarkably acute and searching observations upon art, and that, granting his premises, his general conclusions would be correct, but we are by no means granting his premises. Wagner may have been a traitor to his philosophy, but if he had remained loyal to it, his art would have been impossible. And in view of the sublime beauty of that art we may well pardon him for not keeping the faith.
"Der Fall Wagner" caused a horde of stupid critics to maintain that Nietzsche, and not Wagner, was the apostate, and that the mad philosopher had begun to argue against himself. As an answer to this ridiculous charge, Nietzsche published a little book called "Nietzsche contra Wagner." It was made up entirely of passages from his earlier books and these proved conclusively that, ever since his initial divergence from Schopenhauer's conclusions, he had hoed a straight row. He was a dionysian in "Die Geburt der Tragödie" and he was a dionysian still in "Also Sprach Zarathustra."
[1] That Wagner gave Nietzsche good reason to credit him with these qualities is amply proved. "I have never read anything better than your book," wrote the composer in 1872. "It is masterly." And Frau Cosima and Liszt, who were certainly familiar with Wagner's ideas, supported Nietzsche's assumption, too. "Oh, how fine is your book," wrote the former, "how fine and how deep—how deep and how keen!" Liszt sent from Prague (Feb. 29, 1872) a pompous, patronizing letter. "I have read your book twice," he said. In all of this correspondence there is no hint that Nietzsche had misunderstood Wagner's position or had laid down any propositions from which the composer dissented.
[2] There is an interesting discussion of this in James Huneker's book, "Mezzotints in Modern Music," page 285 et. seq., New York, 1899.
[3] See "George Bernard Shaw: His Plays;" page 102 et seq., Boston, 1905.