Tag: Richard Wagner

Deadly Angelism

Deadly Angelism posted in Eleison Comments on February 11, 2012

Discerning what made T.S.Eliot (1888–1965) “indisputably the greatest poet writing in English in the 20th century,” a conservative English writer of our own day, Roger Scruton, has some interesting things to suggest to Catholics hanging on to their Faith by their fingertips in these early years of the 21st century – briefly, in the pain is the solution! If we are being crucified by the world around us, that is the Cross we are meant to be carrying.

Eliot was in poetry an arch-modernist. As Scruton says, “He overthrew the 19th century in literature and inaugurated the age of free verse, alienation and experiment.” One may well question whether Eliot’s final combination of high culture and Anglicanism is a sufficient solution to the problems he was tackling, but who can deny that with his famous poem, the “Waste Land” of 1922, he blazed the trail for contemporary English poetry? The enormous influence of his poems demonstrated at least that Eliot had his finger on the pulse of the times. He is a modern man, and he tackled head on the problem of modern times, summed up by Scruton as “fragmentation, heresy and unbelief.”

However, the “Waste Land” could not be the masterpiece that it is if it did not make some sense out of the chaos. It is in fact a brilliant portrait in a mere 434 lines of the shattered European “civilisation” that emerged from the ruins of World War I (1914 -1918). And how did Eliot manage to do that? Because as Scruton says, Eliot the arch-modernist was also an arch-conservative. Eliot had soaked himself in the great poets of the past, notably Dante and Shakespeare, but also in more modern masters such as Baudelaire and Wagner, and it is clear from the “Waste Land” that it is Eliot’s grasp of the order of the past that enabled him to get a handle on the disorder of the present.

Scruton comments that if then Eliot blew away the great romantic tradition of 19th century English poetry, it is because that romanticism no longer corresponded to the reality of his age. “He believed that his contemporaries’ use of worn-out poetic diction and lilting rhythms betrayed a serious moral weakness: a failure to observe life as it really is, a failure to feel what must be felt towards the experience that is inescapably ours. And this failure is not confined, Eliot believed, to literature, but runs through the whole of modern life.” The search for a new literary idiom on Eliot’s part was therefore part of a larger search – “for the reality of modern experience.”

Now have we not seen, and do we not see, the same “serious moral weakness” inside the Church? One may call “Fiftiesism” that weakness of the Church of the 1950’s which was the direct father of the disaster of Vatican II in the 1960’s. What was it if not a refusal to look squarely at the modern world for what it is? A pretence that everything was nice, and everybody was nice? A pretence that if I just wrap myself up in an angelist sentimentality, then the problems of the Church in the Revolutionary world will just float away? And what is now the pretence that Rome really wants Catholic Tradition if not the same essential refusal of modern reality? As Eliot taught us that sentimentality is the death of true poetry, so Archbishop Lefebvre showed us that it is the death of true Catholicism. The arch-conservative Archbishop was the truest of modern Catholics.

Catholics, today’s reality may be crucifying us in any one of its many corrupt ways, but rejoice, again, says St Paul, rejoice, because in our own acceptance of our modern Cross today is our only salvation, and the only future for Catholicism

Kyrie eleison.

Sixpenny Art

Sixpenny Art posted in Eleison Comments on December 4, 2010

The French painter Paul Gauguin (1848–1903) repudiates modern society for the sake of art, yet the art he made himself free to create does not seem to have brought him peace (EC 175). The English novelist Somerset Maugham (1874–1965) writes a version of Gauguin’s life a few years later which seems to confirm both the repudiation and the lack of peace (EC 176). But why is the modern artist at odds with the society that he reflects, and that supports him? And why is the modern art he produces normally so ugly? And why do people persist in supporting ugly art?

The artist as rebel goes back to the Romantics. Romanticism flourished alongside the French Revolution, which merely broke out in 1789, but has been pulling down throne and altar ever since. Modern artists, reflecting the society in which they live, as artists cannot help doing, steadily more repudiate God. Now if God does not exist, then surely the arts should have flourished serenely in their new-found liberty from that illusion of God that has dominated men’s minds from time immemorial. Yet is modern art serene? Or is it not rather suicidal?

On the other hand, if God exists, and if the artist’s talent is a gift from God to be used for his glory, as countless artists from the past used to proclaim, then the godless artist will be at war with his own gift, and his gift will be at war with his society, and society will be at war with his gift. Is this not rather what we observe all around us, for instance the deep scorn of modern materialists for all the arts, beneath a pretence of respect?

If God exists, at any rate the questions asked above are easy to answer. Firstly, the artist is at odds with modern society because the breath of God within him that is his talent knows that his society is despicable insofar as it is godless. The fact that society supports him despite his scorn makes it merely more despicable. As Wagner once said when his increased orchestra meant eliminating a row of seats in the theatre, “Fewer listeners? So much the better!” Secondly, how can a gift from God that is turned against him produce anything harmonious or beautiful? For anyone to find modern art beautiful he must reverse the meaning of words: “Fair is foul and foul is fair” (Macbeth) – yet when did even a modern artist mistake ugliness for beauty in a woman? And thirdly, modern people will persist in their reversing the meaning of words because they are making war on God, and have no intention of letting up. “Rather the Turk than the tiara,” said the Greeks just before the catastrophic fall of Constantinople in 1453. “Rather Communism than Catholicism,” said American Senators after World War II, and they had their wish.

In brief, Wagner, Gauguin and Maugham and thousands of modern artists of all kinds are right to scorn our sixpenny Christendom, but the answer is not to make even more war on God with modern art. The answer is to stop making war on God, to give him again the glory due to him and to put Christ back into Christendom. How much more ugliness will it take for men to turn back to the tiara and to choose once more Catholicism? Will even World War III be enough?

Kyrie eleison.

“Tristan” Chord

“Tristan” Chord posted in Eleison Comments on October 24, 2009

Remarkable confirmation of the Society of St. Pius X’s balanced position on the validity of the Newchurch sacraments appeared last week in the bulletin of a fighting Gaul, “Courrier de Tychique.” From a “reliable source” it appears there that Freemasonry, ancient enemy of the Church, planned for the Conciliar Revolution to invalidate the Catholic sacraments, not by alteration of their Form, rendering them automatically invalid, but rather by an ambiguity of their Rite as a whole, undermining in the long run the Minister’s necessary sacramental Intention.

The “reliable source” is a Frenchman who heard directly from a venerable old priest some of what Cardinal Lienart on his deathbed confessed to the priest. No doubt fearing Hell, the Cardinal begged the priest to reveal it to the world, and thus released him from the Confessional seal. The priest was thenceforth discreet in public, but in private he was more forthcoming as to what the Cardinal revealed to him of Freemasonry’s three-point plan for the destruction of the Church. Whether or not he entered Freemasonry at the precocious age of 17, the Cardinal rendered it supreme service when only two days after the opening of Vatican II he wrenched the Council off course by demanding irregularly that the carefully prepared Traditional documents be rejected altogether.

According to the Cardinal, Freemasonry’s first objective at the Council was to break the Mass by so altering the rite as to undermine in the long run the celebrant’s Intention: “to do what the Church does.” Gradually the Rite was to induce priests and laity alike to take the Mass rather for a “memorial” or “sacred meal” than for a propitiatory sacrifice. The second objective was to break the Apostolic Succession by a new Rite of Consecration that would eventually undermine the bishops’ power of Orders, both by a new Form not automatically invalidating but ambiguous enough to sow doubt, and above all by a new Rite which as a whole would eventually dissolve the consecrating bishop’s sacramental Intention. This would have the advantage of breaking the Apostolic Succession so gently that nobody would even notice. Is this not exactly what many believing Catholics are now afraid of?

Howsoever it may be with the “reliable source,” in any case today’s Newchurch Rites of Mass and Episcopal Consecration correspond exactly to the Masonic plan as unveiled by the Cardinal. Ever since these new Rites were introduced in the late 1960’s and early 1970’s, many serious Catholics have refused to believe that they could be used validly. Alas, they are not automatically invalid (how much simpler if they were!). They are worse! Their sacramental Form is Catholic enough to persuade many a celebrant that they can be validly used, but they are designed as a whole to be so ambiguous and so suggestive of a non-Catholic interpretation as to invalidate the sacrament over time by corrupting the Intention of any celebrant either too “obedient” or insufficiently watching and praying.

Rites thus valid enough to get themselves accepted by nearly all Catholics in the short term, but ambiguous enough to invalidate the sacraments in the long term, constitute a trap satanically subtle. To avoid it, Catholics must on the one hand shun all contact with these Rites, but on the other hand they must not discredit their sound Catholic instincts by exaggerated theological accusations which depart from sound Catholic doctrine. It is not always an easy balance to keep.

Kyrie eleison.

“Tristan” Production

“Tristan” Production posted in Eleison Comments on October 17, 2009

After an absence from London’s Royal Opera House of some 40 years, it was delightful to be offered by friends last week a ticket to Wagner’s “Tristan and Isolde.” It did make a delightful evening, but oh dear! – the modern production! The classics of yesteryear are one thing. Their production on stage today can be quite another!

A classic like “Tristan and Isolde,” which was staged for the first time in 1865, becomes a classic because it succeeds in expressing human problems and solutions that belong to all the ages. Never for instance have the passions of romantic love between man and woman been so skilfully and powerfully expressed as in the music-drama of “Tristan.” But every time a classic drama is put on stage, its production can obviously belong only to the time of its staging. So the classic depends in itself on the author, but in its production on the producer, and on how he understands the classic he is producing.

Now Wagner can be called the father of modern music, especially through the revolution wrought by the chromatic harmonies of “Tristan,” constantly shifting. Nobody can say Wagner is not modern. Yet what the current production of “Tristan” at Covent Garden shows is the huge distance even between Wagner’s time and our own. This producer had either no understanding or no regard for Wagner’s text, as two little examples may show. In Act III when Kurwenal is meant to be looking out to sea for Isolde’s ship, he is shown watching Tristan all the time. On the contrary when Isolde finally rushes in to find Tristan dying, Wagner’s text has her of course scanning him for the least sign of life, but this producer has her on the floor with her back turned to him! This flagrant violation of the original text, and of common sense, ran through the production from beginning to end.

What did the producer think he was doing? I would like to know. Either he had no common sense, or if he had any, he set out deliberately to defy it. Worse, the Royal Opera House probably paid him a royal sum to do so, because it will have judged that today’s audiences would enjoy the defiance. One is reminded of Picasso saying that he knew his art was nonsense, but he also knew that it was what people wanted. Indeed last week’s audience, which should have been hooting such nonsense off the stage, instead watched docilely and applauded warmly. In Wagner’s own country today, unless I am mistaken, classic productions of his operas are rare.

One is bound to ask, what is happening to common sense? Where are today’s audiences going? How can a people long survive which takes pleasure, for example, in lovers turning their backs on one another at the moment of death? Objection: it is only theatre. Reply: theatre holds up the mirror to society. Conclusion: society today either has no common sense, or what little it still has, it is trampling on. Since common sense is the sense of reality, such a society cannot survive.

Kyrie eleison.

Wagnerian Redemption

Wagnerian Redemption posted in Eleison Comments on September 1, 2007

Teaching some Humanities to pre-seminarians, I have again chosen to introduce them to Richard Wagner, German composer of famous music-dramas, and one of the most interesting characters of modern times. Straddling most of the 19th century (1813–1883), he was certainly not the greatest man of his time, but he was surely its most comprehensive artist. For breadth and depth of his world-vision, he must rank alongside Dante and Shakespeare, but not for truth, because he held up the mirror to an age falling away from God. Here was his greatness, and his misery.

Here was his greatness, because there is no question that he had a real sense of the heights and depths of man, crying out for religion. His misery lay in the fact that he came up with a non-religious solution to that religious need. However his substitute solution has been enormously popular to this day, precisely because he seems to satisfy that religious need while leaving the real God, as modern man wishes, out of the picture. Hence the veritable cult of Wagner by “Wagnerians,” for whom his music-dramas can act as a substitute religion.

What is that solution of his? Basically, the redemption of a fallen world by love between man and woman. In each of the four great works of his maturity, “The Ring,” “Tristan and Isolde,” “The Mastersingers” and (with a slight variation) “Parsifal,” the basic plot is the same. Up against, primarily, a social structure and authority unable to adapt and therefore stranded in unreality, and up against, secondarily, a kind of underworld also resisting, there arises a hero to love and win a heroine, united with whom in redemptive love he brings about a revolution which, through their love, rescues society and restores reality.

In other words, the authority figure or figures are ineffective and, if not themselves villains, at least seconded by villains, whereas if only the boy can find his girl, he and she will make everything happy ever after. Does anyone recognize the formula of numberless Hollywood films? Of course a good wife is a tower of strength to her husband and children (see Proverbs Chapter 31), but to rest the salvation of the world upon her shoulders is asking altogether too much – how long are households patterned primarily on Hollywood apt to last? Often not long.

Of course Wagner is not the sole source of Hollywood plots, but he is the main origin of a mass of its sub-Wagnerian music, and there is no denying the huge influence of that music and of Wagner’s mythology on modern times. Boys and girls, take heed. Wagner is a great musician, but there is no substitute for the true God. People in authority are not automatically antiquated, or villains; and neither of you is the complete solution to the other’s problems. You both need Our Lord Jesus Christ and the fullness of his Catholic Truth, and his sacraments.

Kyrie eleison.