the LATER FRENCH ROMANTICISM of the forties, are
most closely and intimately related to one another. They are akin,
fundamentally akin, in all the heights and depths of their requirements;
it is Europe, the ONE Europe, whose soul presses urgently and longingly,
outwards and upwards, in their multifarious and boisterous art--whither?
into a new light? towards a new sun? But who would attempt to express
accurately what all these masters of new modes of speech could not
express distinctly? It is certain that the same storm and stress
tormented them, that they SOUGHT in the same manner, these last great
seekers! All of them steeped in literature to their eyes and ears--the
first artists of universal literary culture--for the most part even
themselves writers, poets, intermediaries and blenders of the arts and
the senses (Wagner, as musician is reckoned among painters, as poet
among musicians, as artist generally among actors); all of them fanatics
for EXPRESSION "at any cost"--I specially mention Delacroix, the nearest
related to Wagner; all of them great discoverers in the realm of the
sublime, also of the loathsome and dreadful, still greater discoverers
in effect, in display, in the art of the show-shop; all of them talented
far beyond their genius, out and out VIRTUOSI, with mysterious accesses
to all that seduces, allures, constrains, and upsets; born enemies of
logic and of the straight line, hankering after the strange, the
exotic, the monstrous, the crooked, and the self-contradictory; as men,
Tantaluses of the will, plebeian parvenus, who knew themselves to be
incapable of a noble TEMPO or of a LENTO in life and action--think
of Balzac, for instance,--unrestrained workers, almost destroying
themselves by work; antinomians and rebels in manners, ambitious and
insatiable, without equilibrium and enjoyment; all of them finally
shattering and sinking down at the Christian cross (and with right
and reason, for who of them would have been sufficiently profound and
sufficiently original for an ANTI-CHRISTIAN philosophy?);--on the
whole, a boldly daring, splendidly overbearing, high-flying, and
aloft-up-dragging class of higher men, who had first to teach their
century--and it is the century of the MASSES--the conception "higher
man."... Let the German friends of Richard Wagner advise together as to
whether there is anything purely German in the Wagnerian art, or whether
its distinction does not consist precisely in coming f