Читать книгу Studies in the Wagnerian Drama онлайн

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Wagner, then, was a Reformer of the Opera; or, as I think it would better be put, a Regenerator of the Lyric Drama. The latter definition is to be preferred, because it presupposes the earlier existence of an art-form similar in purpose and elements (however dissimilar in scope and effectiveness it may have been) to that with which Wagner's name is identified in music's history. The spirit which created that art-form is as old as humanity; but the record of civilization shows two manifestations of it so striking that even the most cursory study ought to disclose Wagner's relationship to them. The Greek stage-plays were much more closely allied to the modern opera than to the modern drama. Music was an integral and essential element of them. So says Aristotle, adding, "and their greatest embellishment." The dramatic and lyrical elements were inseparable in Greek tragedy, which had its origin in the Dithyramb, a dance-song. The one modified the other. The cheer, the gravity, or the horror of the action were reflected at the same time in the music. While there was music also in comedy, yet, as Aristotle indicates, it was there of less importance, probably because comedy—which was really broad enough to meet the modern notions of farce—was beneath the true level of music as apprehended by the Greeks. As between the lyre and flute, the Greeks gave a vastly greater admiration to the former, as is indicated by a proverb quoted by Cicero: "As they say among the Greeks, they are flautists who cannot be citharists;" and it is significant that stringed accompaniments were given to the dithyrambic chorus when its purposes were serious, and accompaniments on the aulos when those purposes were of lighter character. Obviously the writers of Greek tragedy were of necessity versed in the musical art of their time. Æschylus was not merely a poet; he was also a musical composer. A fragment of a theoretical book on rhythm by Aristoxenus, a fellow-pupil with Alexander the Great of Aristotle, has been preserved to us. It is filled with lamentations over the decadence of dramatic music since the good old days of Æschylus, and accuses contemporary composers of pandering to the depraved tastes of the public, and disregarding the noble art of the Æschylean period. We know that Sophocles was a practical musician. He was taught both music and dancing by Lampros (or Lamprocles) the dithyrambist, in his time the foremost professor of these arts in Athens. It is on record that he played in two of his own dramas, taking the character of Nausikaa in the "Pluntriæ," and, in "Thamyris," that of a singer stricken blind by the Muses. In this latter role he so pleased the popular fancy that, by public vote, a portrait of him, with a cithara in his hands, was placed in the Painted Porch—a fact which finds mention in Athenæus. Another indication of his proficiency as a musician is that he wrote pæans and elegies, and a work in prose for the instruction of choral artists. It is written that Euripides, obviously less musician than poet, had to call in the aid of a composer to supply the essential music for one of his plays. Possibly this explains the fact that in his tragedies the odes are less intimately connected with the play than they are in the tragedies of Æschylus. They no longer form part of the action, and their beauty consists in their skilfulness of form rather than in the natural union of rhythm and music.