New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-09-15
WAGNERIANA.
THE PoEr-coMposER,s PROSE WRITINGS

RICHARD wAGNER's PROSE WORKS; Trans ans
iated by William Ashton Ellis. Vol. III The
Trench TrUbner 4 Co.
WAGNER. Traduction ayec une Introduction ct
des Notes. Par lie Comte dc Cham6run ct
Wares TWO vols Svo' pp. "A. 47S Paris:
Calman Levy.
OF the first two volumes of the series TO which
the first book mentioned above belongs sympa-
thetic and fairly exhaustive reviews have APP
peared In this Journal The enterprise OF putting
the philosophical and polemical writings OF Wag-
ner into English, which Mr.. Ellis has Undertaken
with the help of the London branch OF the Wag-
ner Society is one of the most valuable activities
Of the poet-composer's British friends In the VOL
ume before us we are glad to observe what seems
to us a Qualification Of Mr.. Ellis's style though
his fondness for uncouh Teutonic forms OF express
sion. under the mistaken notion that they are es-
sential to a full conveyance of the authors mean
ing. seems ineradicable This is unfortunate, for
II adds to the difficulty which many VIII ma III
reading treatises which are frequently turgid and
cumbrous enough In their original FORM ana "iiich
are for that reason seldom found in the hanus OIL
others than investigators and students
The title which the present volume bears Inc
Tbea,rc,c was arbitrarily bestowed upon 1t by
Mr. Ellis for the sake Of uniformity with its pred
>.
that the word theatre" forms part of the titles
~ tho second and last essays In the books. which
belong to the most important in the collection IN
his onnion. and that the matter Of these essays
"Is largely supplemented by significant sugges-
t,ons for theatrical management in the article that
constitutes the centre of the volume" The mat
for &c NJ no consequence at ALL but as the bulk or
Wsgner's writings is devoted to questions con-
corning the lyric drama the use of the specific title
IN this one instance might be said to be mislead-
ing Those who have read Wagner's works in the
original will be better informed of the contents OF
tho English Volume III when they are told that IL
comprises the prose writings In Volumes vi ana
VII OF the "Gesammelte Schrften' and the al
dendum TO Judaism In Music" from volume VII.
There are twenty-five essays. OF when the one
which caused the greatest stir when IL was hIsl
published IL the notorious poemic just mentioned
written in 1850. and provided with an explanatory
chapter eighteen years later. The essay which
may be said to have the greatest contemporaneous
interest is the one "On The Production of Tam
hauser' in Paris" the production referred TO belng
that Of 1861 Had Mr.. Ellis been in position 10
collate with this the historical disclosures mace
by writers in the Paris newspapers snort ume
ago when "Tannhauser'' made It's triumphant re-
entry at the Grand opera. he would have added 10
the gratitude which students owe MIN ior MS
notes summaries and indices.
Concerning the effect made by judaism III
Music" Mr. Ellis in his preface furnishes the IN
terestng information that a DR.. Puschmann pup
llshed a pamphlet Of seventy pages In s'z' IN
which he asserted that Wagner was mailman
afflicted with the "per ecuton delusion' ms
s,ngularly enough. Is one OF the points on winch
Max Nordau relies in his contention that Wagner
,;lasenapp. ;he chief OF Wagner's German BIZ
,pranhers Wagners essay called out no less than
one hundred and seventy pamphlets in reply. II
Is pleasant in view Of Mr.. Elliss conviction OF
the impeccabilty Of his hero In every respect
under the sun that he has put Or. Hansicks
oood-natured denial Of Wagners charge tina; he
,s a lew I'm a footnote. There seems % be pretty
general agreement among Wagnerian champions
NOWADAYS TO regard Judaism In Music as an IN
.lefcnsible folly. Even Mr.. F.nck who mas
stomach for nearly everything that Wagner said
and did refuses to swallow the reasons when ne
gave in 1869 for his Jew battling. and even mas
flaws in his argumentative armor. Mr.. Ellis has
a great deal 10 say about the essay, but declines
TO give his opinion Of the larger question further
than TO remind the reader that Richard wagner
was essentially and typically an Aryan -"hat-
ever that may mean. We fancy that one might be
o. typical Aryan without believing the Jews IN
capable Of artistic creation: or even be Jew ana
believe In Wagners contention. which, when II
shows no traces Of personal hatred 10 put with
great plausibility and convincing force. In fact,
we have heard Jew publicly subscribe to every
thing Wagner said on the subject. and ne fur
nished a pretty good exemplihoation Of most of
the things which Wagner laid at the doors OF the
Jews
In
recall some structures passed on Wagner as a his
torjan in this Journals notice Of Volume ii and
their consequences. 1t may be remembered that
the reviewer on that occasion spoke in tone OF
warning against the unquestioned acceptance OF
Wagner's presentation Of musical history and
cited his misstatements touching the origin or
Italian opera as an illustration Of his disposition
70 make history and critical disquistion conform
10 theory and wait upon 1t. Now, we believe there
are men in the world who have the most honest
end whole-souled admiration for Wagners arr
conceivable but who yet able TO believe that 1t
was possible for him to be mistaken on a question
OF musical history.
But Mr. Ellis does not belong to that class He
Is ready TO fight II you say that there was ever
by chance fieck Of dirt upon Wagner's shirt
front and TO rearrange the whole system OF
morals rather than admit that Wagner could ever
have been moral delinquent Deeply sensible as
Il would appear. of the fact that the review In
The Tribune at once tribute 10 Wagner and
10 his own work in Wagner's behalf. he neverth'-
less felt II his duty TO devote more than half Of
No xxx Of THE Meister." which he edits and
which is the organ Of the London branch of the
Wagner Society, to what he believes is refuta-
ton Of The Trbune's charges. The whole essay
is so inconsequential and inconclusive that there
vould have been no thought Of mentioning II
here had not the fault OF Wagner against which
The Tribune spoke a kindly note Of warning been
repeated in the new volume. 1t occurs nagrantly
I'm the opening pages Of the essay THE Music OF
the Future" which Wagner wrote to accompany
translatinn four Of his drama TIC