Doctor Faustus (38 page)

Even as he spake, and easily, a change came over the fellow: as I looked straight at him meseemed he was different, sat there no longer a rowdy losel, but changed for the better, I give my word. He now had on a white collar and a bow tie, horn-rimmed spectacles on his hooked nose. Behind them the dark, rather reddened eyes gleamed moistly. A mixture of sharpness and softness was on the visage; nose sharp, lips sharp, yet soft the chin with a dimple, a dimple in the cheek too-pale and vaulted the brow, out of which the hair retreats toward the top, yet from there to the sides thick, standing up black and woolly: a member of the intelligentsia, writer on art, on music for the ordinary press, a theoretician and critic, who himself composes, so far as thinking allows him. Soft, thin hands as well, which accompany his talk with gestures of refined awkwardness, sometimes delicately stroking his thick hair at temples and back. This was now the picture of the visitor in the sofa-corner. Taller he had not grown, and above all the voice, nasal, distinct, cultivated, pleasing, had remained the same; it kept the identity in all the fluidity of appearance. Then I hear him speak and see his wide lips, pinched in at the corners under the badly shaved upper one, protrude as he articulates.

“What is art today? A pilgrimage on peas. There’s more to dancing in these times then a pair of red shoon, and you are not the only one the devil depresses. Look at them, your colleagues—I know, of course, that you do not look at them, you don’t look in their direction, you cherish the illusion that you are alone and want everything for yourself, all the whole curse of the time. But do look at them for your consolation, your fellow-inaugurators of the new music, I mean the honest, serious ones, who see the consequences of the situation. I speak not of the folklorists and neo-classic asylists whose modernness consists in their forbidding themselves a musical outbreak and in wearing with more or less dignity the style-garment of a pre-individualistic period. Persuade themselves and others that the tedious has become interesting, because the interesting has begun to grow tedious.”

I had to laugh, for although the cold continued to pursue me, I must confess that since his alteration I felt more comfortable in his presence. He smiled as well: that is, the corners of his mouth tensed a little and he slightly narrowed his eyes.

“They are powerless too,” he went on, “but I believe we, thou and I, lever prefer the decent impotence of those who scorn to cloak the general sickness under colour of a dignified mummery. But the sickness is general, and the straightforward ones shew the symptoms just as well as the producers of back-formations. Does not production threaten to come to an end? And whatever of serious stuff gets on to paper betrays effort and distaste. Extraneous, social grounds? Lack of demand? And as in the pre-liberal period the possibility of production depends largely on the chance of a Maecenas? Right, but as explanation doesn’t go far enough. Composing itself has got too hard, devilishly hard. Where work does not go any longer with sincerity how is one to work? But so it stands, my friend, the masterpiece, the self-sufficient form, belongs to traditional art, emancipated art rejects it. The thing begins with this: that the right of command over all the tone-combinations ever applied by no means belongs to you. Impossible the diminished seventh, impossible certain chromatic passing notes. Every composer of the better sort carries within himself a canon of the forbidden, the self-forbidding, which by degrees includes all the possibilities of tonality, in other words all traditional music. What has become false, worn-out cliche, the canon decides. Tonal sounds, chords in a composition with the technical horizon of today, outbid every dissonance. As such they are to be used, but cautiously and only
in extremis
, for the shock is worse than the harshest discord of old. Everything depends on the technical horizon. The diminished seventh is right and full of expression at the beginning of Op .111. It corresponds to Beethoven’s whole technical niveau, doesn’t it?—the tension between consonance and the harshest dissonance known to him. The principle of tonality and its dynamics lend to the chord its specific weight. It has lost it—by a historical process which nobody reverses. Listen to the obsolete chord; even by itself alone it stands for a technical general position which contradicts the actual. Every sound carries the whole, carries the whole story in itself. But therefore the judgment of the ear, what is right and what wrong, is indisputably and directly related to it, to this one chord, in itself not false, entirely without abstract reference to the general technical niveau: we have there a claim on Tightness which the sound image makes upon the artist—a little severe, don’t you think? Then does not his activity exhaust itself in the execution of the thing contained within the objective conditions of production? In every bar that one dares to think, the situation as regards technique presents itself to him as a problem. Technique in all its aspects demands of him every moment that he do justice to it, and give the only right answer which it at any moment permits. It comes down to this, that his compositions are nothing more than solutions of that kind; nothing but the solving of technical puzzles. Art becomes critique. That is something quite honourable, who denies it? Much rebellion in strict obedience is needed, much independence, much courage. But the danger of being uncreative—what do you think? Is it perhaps still only a danger, or is it already a fixed and settled fact?”

He paused. He looked at me through his glasses with his humid reddened eyes, raised his hand in a fastidious gesture, and stroked his hair with his two middle fingers. I said: “What are you waiting for? Should I admire your mockery? I have never doubted ye would know how to say to me what I know. Your way of producing it is very purposeful. What you mean by it all is to shew me that I could avail myself of, nor have, no one otherwise then the divel to kindle me to my work. And ye could at the same time not exclude the theoretic possibility of spontaneous harmony between a man’s own needs and the moment, the possibility of ‘rightness,’ of a natural harmony, ‘ out of which one might create without a thought or any compulsion.”

He (laughing): “A very theoretic possibility, in fact. My dear fellow, the situation is too critical to be dealt with without critique. Moreover I reject the reproach of a tendentious illumination of things. We do not need to involve ourselves further in dialectic extravagances on your account. What I do not deny is a certain general satisfaction which the state of the ‘work’ generally vouchsafes me. I am against ‘works,’ by and large. Why should I not find some pleasure in the sickness which has attacked the idea of the musical work? Don’t blame it on social conditions. I am aware you tend to do so, and are in the habit of saying that these conditions produce nothing fixed and stable enough to guarantee the harmony of the self-sufficient work. True, but unimportant. The prohibitive difficulties of the work lie deep in the work itself. The historical movement of the musical material has turned against the self-contained work. It shrinks in time, it scorns extension in time, which is the dimensions of a musical work, and lets it stand empty. Not out of impotence, not out of incapacity to give form. Rather from a ruthless demand for compression, which taboos the superfluous, negates the phrase, shatters the ornament, stands opposed to any extension of time, which is the life-form of the work. Work, time, and pretence, they are one, and together they fall victim to critique. It no longer tolerates pretence and play, the fiction, the self-glorification of form, which censors the passions and human suffering, divides out the parts, translates into pictures. Only the non-fictional is still permissible, the unplayed, the undisguised and untransfigured expression of suffering in its actual moment. Its impotence and extremity are so ingrained that no seeming play with them is any lenger allowed.”

I (very ironically): “Touching, touching! The devil waxes pathetic. The poor devil moralizes. Human suffering goes to his heart. How high-mindedly he shits on art! You would have done better not to mention your antipathy to the work if you did not want me to realize that your animadversions are naught but divel-farting.”

He (unperturbed): “So far, so good. But at bottom you do agree that to face the facts of the time is neither sentimental nor malicious. Certain things are no longer possible. The pretence of feeling as a compositional work of art, the self-satisfied pretence of music itself, has become impossible and no longer to be preserved—I mean the perennial notion that prescribed and formalized elements shall be introduced as though they were the inviolable necessity of the single case. Or put it the other way round: the special case behaving as though it were identical with the prescribed and familiar formula. For four hundred years all great music has found its satisfaction in pretending that this unity has been accomplished without a break—it has pleased itself with confusing the conventional universal law to which it is subject with its own peculiar concern. My friend, it cannot go on. The criticism of ornament, convention, and the abstract generality are all the same one. What it demolishes is the pretence in the bourgeois work of art; music, although she makes no picture, is also subject to it. Certainly, this ‘not making a picture’ gives her an advantage over the other arts. But music too by untiringly conforming her specific concerns to the ruling conventions has as far as she could played a role in the highbrow swindle. The inclusion of expression in the general appeasement is the innermost principle of musical pretence. It is all up with it. The claim to consider the general harmonically contained in the particular contradicts itself. It is all up with the once bindingly valid conventions, which guaranteed the freedom of play.”

I:.”A man could know that and recognize freedom above and beyond all critique. He could heighten the play, by playing with forms out of which, as he well knew, life has disappeared.”

He: “I know, I know. Parody. It might be fun, if it were not so melancholy in its aristocratic nihilism. Would you promise yourself much pleasure and profit from such tricks?”

I (retort angrily): “No.”

He: “Terse and testy. But why so testy? Because I put to you friendly questions of conscience, just between ourselves? Because I shewed you your despairing heart and set before your eyes with the expert’s insight the difficulties absolutely inseparable from composition today? You might even so value me as an expert. The Devil ought to know something about music. If I mistake not, you were reading just now in a book by the Christian in love with aesthetics. He knew and understood my particular relation to this beautiful art—the most Christian of all arts, he finds—but Christian in reverse, as it were: introduced and developed by Christianity indeed, but then rejected and banned as the Divel’s Kingdom—so there you are. A highly theological business, music—the way sin is, the way I am. The passion of that Christian for music is true passion, and as such knowledge and corruption in one. For there is true passion only in the ambiguous and ironic. The highest passion concerns the absolutely questionable… No, musical I am indeed, don’t worry about that. I have sung you the role of poor Judas because of the difficulties into which music like everything else has got today. Should I not have done so? But I did it only to point out to you that you should break through them, that you should lift yourself above them to giddy heights of self-admiration, and do such things that you will behold them only with shudders of awe.” I: “An annunciation, in fact. I am to grow osmotic growths.” He: “It comes to the same thing. Ice crystals, or the same made of starch, sugar, and cellulose, both are nature; we ask, for which shall we praise Nature more. Your tendency, my friend, to inquire after the objective, the so-called truth, to question as worthless the subjective, pure experience: that is truly petty bourgeois, you ought to overcome it. As you see me, so I exist to you. What serves it to ask whether I really am? Is not ‘really’ what works, is not truth experience and feeling? What uplifts you, what increases your feeling of power and might and domination, damn it, that is the truth-and whether ten times a lie when looked at from the moral angle. This is what I think: that an untruth of a kind that enhances power holds its own against any ineffectively virtuous truth. And I mean too that creative, genius—giving disease, disease that rides on high horse over all hindrances, and springs with drunken daring from peak to peak, is a thousand times dearer to life than plodding healthiness. I have never heard anything stupider then that from disease only disease can come. Life is not scrupulous—by morals it sets not a fart. It takes the reckless product of disease, feeds on and digests it, and as soon as it takes it to itself it is health. Before the fact of fitness for life, my good man, all distinction of disease and health falls away. A whole host and generation of youth, receptive, sound to the core, flings itself on the work of the morbid genius, made genius by disease: admires it, praises it, exalts it, carries it away, assimilates it unto itself and makes it over to culture, which lives not on home-made bread alone, but as well on provender and poison from the apothecary’s shop at the sign of the Blessed Messengers. Thus saith to you the unbowdlerized Sammael. He guarantees not only that toward the end of your houre-glasse years your sense of your power and splendour will more and more outweigh the pangs of the little seamaid and finally mount to most triumphant well-being, to a sense of bursting health, to the walk and way of a god. That is only the subjective side of the thing, I know; it would not suffice, it would seem to you unsubstantial. Know, then, we pledge you the success of that which with our help you will accomplish. You will lead the way, you will strike up the march of the future, the lads will swear by your name, who thanks to your madness will no longer need to be mad. On your madness they will feed in health, and in them you will become healthy. Do you understand? Not only will you break through the paralysing difficulties of the time—you will break through time itself, by which I mean the cultural epoch and its cult, and dare to be barbaric, twice barbaric indeed, because of coming after the humane, after all possible root-treatment and bourgeois raffinement. Believe me, barbarism even has more grasp of theology then has a culture fallen away from cult, which even in the religious has seen only culture, only the humane, never excess, paradox, the mystic passion, the utterly unbourgeois ordeal. But I hope you do not marvel that ‘the Great Adversary’ speaks to you of religion. Gog’s nails! Who else, I should like to know, is to speak of it today? Surely not the liberal theologian! After all I am by now its sole custodian! In whom will you recognize theological existence if not in me? And who can lead a theological existence without me? The religious is certainly my line: as certainly as it is not the line of bourgeois culture. Since culture fell away from the cult and made a cult of itself, it has become nothing else then a falling away; and all the world after a mere five hundred years is as sick and tired of it as though,
salva venia
, they had ladled it in with cooking-spoons.”