Lancaster daily intelligencer. [volume] (Lancaster, Pa.) 1864-1928, 1886-05-29

doctrines now emphasized by Progressive
orthodoxy On social questions he some
times says what seems to have been specially
called forth by the wants and circumstances
nj to.dav TIus a., I,,a ,oso ~, ,..o,o
Maieria,iam ,a Tho anxiiia,v ca,,s,,o or
every tyranny. whether of the ona or or tha
masses' To crush wba, IA sniritnai' moral
humau-so In sneak in man hy sncc,ai,,ing
him !. IN form mara wbaa,s yos tha ,,raaS1
sncIai machine Instead oc nertec, inIi,ias,aIa.
IN make societv and not conecionce tha
centre OF life. To- enslaye the soul To tb,pgs
To dc personslze ,nau-this ia the dominant
drift nf onr epocb. Eyerywhere Won NAV
see a tendency 10 substitute the laws OF dead
matter fnumber. mass) for the laws of tho
moral nature fpersuasion, adhesion, faitb)
eoualItv the principle q. nediocrity becou
inc a dogma unity aimed at through uniior.
mity; numbers doing duty for argument:
negative liberty, which has no law Ia itseL
and recognizes no limit except In force
evorvwbere taxing the place of positiye
liberty. which means action puided by an
inner law and curbcd NV a moral authority
Sooialism versus indi yidiialism this il how
Vinet mt tbo dilemma'" I"
Mosr Frencb. German. and even some
uno,,.l .,,,,,... - ,a,,a,,,, 80, ana al, T.,
,,,.n,,sa .,.o, 30 49, .,u. a.. ,,,,a, Al,
manner tnat NJ once SHOWS III h"'ei a'
the qualifications OF q literary critic of the
very highest order. Look, for instance, at
this Judgment of Victor Hugo, after reading
g The erndtion' The talent. tho br,lliancv
OF execution, shown in the book are astonisE-
ing, bewiidering almost Its faults are to be
lound IN the enormous iength aiiowed 10
thss ais,n alu a1i ne co,nh,natioys .na "a
aII tha ,hasas and 6na,Jv in somethino
strained, spasmodic and violent in the style,
which is very different from the style OF
natural eloqnence or OF essential truth.
Effect is the misfortune OF victor HUGO
.,o. no , ~ ,,'..,ia,, r,o,n.o,
ri emnbasisS ,beatr,caiitv 9f manner. a tend.
eucy to force and over drive. A powerful
artist but one with whom YOU never forget
the artist and a dangerous model for the
master himself ia already grazing the rock
of bnrlesque. and passes from the sublime
To the repulsiye from lack of power to pro-
duce one harmonious i'm preston of beauty.
1t Is natural enough that he should detest
Racine. Y Victor Hugo draws In
sulphuric acid, he lights his pictures with
electric light. He deafens, blinds, and be-
wilders his reader rather than he charms or
persuades him. The only thing
which seems impossible to him is to be
natural. In short his passion is grandeur,
his fault il excess his distinguishing marx
is a kind of Titanic power with strange dis
Could any estimate of Hugo be more
exactly just and true? Ana think OF IL,
Irenchinan 70 wrlte SO uiscriiliha'ins'y Vi
'ho great iuo' Vi
WuAT do NapneT-wOr9 llpnprS
IN tbisp
uwaoper,s ia nowerfni mind enaowed
,., 49, e - ,.s.,,,...aaa tIi -
WIN s'rons Poo'i'd' ,r'.
II even more poeticat .hah ihusicaI' iho
suppression Of the lyrical element, and there
fore of melody. il with him systematic
Dartf pris. No more duos or trios mono
io0ue and the aria are alike done away with.
rhora ra,,ains onIv aecI.ma,ioo Tn a recita.
-, -, -, -, r. -. q, It'll
the conventional IN singing, wagner ialis
into another conyention-that OF not singing
AT all. He subordnatss the voice to articu-
late speech, and for fear lest the muse should
take flight he clips her wings. SO that his
works are rather symphonic dramas than
operas. The voice IL brought down to the
rank of an instrument put an level with
the viOlins, the hautboys and the drums,
aud treated instrumentally. Man is deposed
from his superior position, ana the centre ot
gravity OF the work passes into the baton
of the conductor. 1t ia music de-person-
alized-neo Hegelian music-music multiple
instead OF individual. III TINS - so, IL Is IN
deed the music OF the future, the music oil
the socialist democracy replacing the art
which IL aristocratic, heroic, or subjective"
WHATEVER our musicians may think oil
cia,e the exruisite disrriminatjva sense dis
played in his comparison of Mozart and
Beetboyep. called forth by hearing concert
in which compositlons of both these masters
wsro rendered.
s.Tbair irdiv;dua,itv seauoJ to hacome
nIain IN me-. Nozart-rr,ce, liberty. GER
to,n,y fr.aaom and nrs,js;o,, of styIe an
sxn,i,,ita and aristocrati, beauty serepitv
of snnI the health and talent of the master.
10th on a iavaI with bis ,,enius . Reethoven
more natbetic. more passionste. more
,or, n,;,t raoI;n1 n,ora ,tricata nnore pro
sonra iaso narts,t r,ora tho sIaya of bis
',eniu, moro ca rriad AVA nv his fancy or his
SSans;o,, ,,,ora nnoyin,, S,J more snhiinna
tthan Mo1art Mo,,rt rafresbes Won like the
USnIon,,cs Of plato be resnects vo,, reveals
to Won, yoy,r strangtb Owes you freednm and
Sai.nns Rae,boyan ssi1e. unon you be ia
nnora tragic and oratoricaI while Mozart IL
nora disinterested and noetical. Mozart ia
mora ;reel' and Reethoyen more Christian.
| One 10 sarano tho other sarions The rat ia
s,ropger than destiny, because be takes life
Iess nrofonndIy. the second is less strong.
| heca,sa ba has darea IN measure himself
| s, -. ,.s'st.,, tI;a ,a,,u. ;s 10,