Nietzsche with Pascal would have assented that "illness is the natural state of the true Christian." There was in both thinkers a tendency toward self-laceration of the conscience. "Il faut s'abêtir," wrote Pascal; and Nietzsche's pride vanished in the hot fire of suffering. The Pascal injunction to stupefy ourselves was not to imitate the beasts of the field, but was a counsel of humility. Montaigne in his essay on Raymond de Sebonde wrote before Pascal concerning the danger of overwrought sensibility; (Il nous faut abestir pour nous assagir, is the original old French). It would have been wise for Nietzsche to follow Pascal's advice. "We live alone, we die alone," sorrowfully wrote the greatest religious force of the past century, Cardinal Newman (a transposition of Pascal's "Nous mourrons seuls"). Nietzsche was the loneliest of poets. He lived on the heights and paid the penalty, like other exalted searchers after the vanished vase of the ideal.
II
NIETZSCHE'S APOSTASY
Although Macaulay called Horace Walpole a "wretched fribble," that gossip knew a trick or two in fancy fencing. "Oh," he wrote, "I am sick of visions and systems that shove one another aside and come again like figures in a moving picture." This was the outburst of a man called insincere and fickle, but frank in this instance. Issuing from the mouth of Friedrich Nietzsche this cry of the entertaining, shallow Walpole would have been curiously apposite. The unhappy German poet and philosopher suffered during his intellectual life from the "moving pictures" of other men's visions and systems, and when he finally escaped them all and evoked his own dream-world his brain became over-clouded and he passed away "trailing clouds of glory." It is an imperative necessity for certain natures to change their opinions, to slough, as sloughs a snake its skin, their master ideas. Renan went still further when he asserted that all essayists contradict themselves sometime during their life.
With Nietzsche the apparent contradictions of his Wagner-worship and Wagner-hatred may be explained if we closely examine the concepts of his first work of importance, The Birth of Tragedy. It was a misfortune that his bitterest book, The Wagner Case, should have been first translated into English, for Wagner is our music-maker now, and the rude assaults of Nietzsche fall upon deaf ears; while those who had read the earlier essay, Richard Wagner in Bayreuth, were both puzzled and outraged. Certainly the man who could thus flout what he once adored must have been mad. This was the popular verdict, a facile and unjust verdict. What Nietzsche first postulated as to the nature of music he returned to at the close of his life; the mighty personality of Richard Wagner had deflected the stream of his thought for a few years. But as early as 1872 doubts began to trouble his sensitive conscience—this was before his pamphlet Richard Wagner in Bayreuth—and his notebooks of that period were sown with question-marks. In the interesting correspondence with Dr. Georg Brandes, who literally revealed to Europe the genius of Nietzsche, we find this significant passage:
I was the first to distil a sort of unity out of the two [Schopenhauer and Wagner].... All the Wagnerians are disciples of Schopenhauer. Things were different when I was young. Then it was the last of the Hegelians who clung to Wagner, and "Wagner and Hegel" was still the cry in the '50s.
Nietzsche might have added the name of the philosopher Feuerbach. Wagner's English apologist, Ashton Ellis, repudiates the common belief that Wagner refashioned the latter part of the Ring so as to introduce in it his newly acquired Schopenhauerian ideas. Wagner was always a pessimist, declares Mr. Ellis; Schopenhauer but confirmed him in his theories. Wagner, like Nietzsche, was too often a weathercock. A second-rate poet and philosopher, he stands chiefly for his magnificent music. Nietzsche or any other polemiker cannot change the map of music by fulminating against Wagner. Time may prove his true foe—the devouring years that always show such hostility to music of the theatre, music that is not pure music.
The spirit of the letter to Brandes quoted above may be found in Nietzsche Contra Wagner (The Case of Wagner, page 72). Nietzsche wrote:
I similarly interpreted Wagner's music in my own way as the expression of a Dionysian powerfulness of soul.... It is obvious what I misunderstood, it is obvious in like manner what I bestowed upon Wagner and Schopenhauer—myself.