A zene tradicionlisan rtus.4 Ez valjban minden tradicionlis mvszetre igaz.

S hogy minden esetleges flrertst eloszlassunk, ki kell jelenteni: tudomny s mvszet tradicionlisan egyet jelentenek. Az a fajta klnvlasztsa tudomnynak s mvszetnek, mint ma, egy tradicionlis trsadalomban nem ltezik. Minden mvszet tudomny is egyben s minden tudomny mvszet. A kt sz valjban csak kt eltr, de sszetartoz aspektust jell: egy igazi Tuds (gnosis) elnyerst, illetve a mvsz azon igyekvst, hogy emberi ltt meghaladja, vagyis magasabb, spiritulis lehetsgeit kibontsa, kimvelje. (Hasonlan a magyarhoz, a latin ars (mvszet) sz etimolgiailag rokon az arare (szntani, fldet mvelni) igvel.) Ez adhat brmely mvszetnek valban szakrlis jelleget, amennyiben megrtjk, hogy csak azt nevezhetjk szakrlisnak, ami a spiritulis szfrval val kapcsolatot ltrehozza, fenntartja s/vagy felersti. Ezek utn rthet az is, mi ad a zennek (de, mint mondtuk, valjban brmely a tradci ltal thatott tevkenysgnek) ritulis jelleget1. Metafizikailag szemllve ez a folyamat az esszencilis plusbl a megnyilvnuls egyre mlyebb rtegei fel, a szubsztancilis plus irnyba tart fokozatos ereszkedsknt rhat le. Az egyszlamsg mr termszetbl fakadan az Egy princpiumt, a mindent meghatroz abszolt Esszencia ltezsbe val alszllst jelenti meg, a fiat lux-ot (Legyen fny!); mg a polifnia ltal a megnyilvnuls vilga, a tbbszer kvantits uralma szlal meg. Ha az egyszlam zenkre inkbb mozdulatlansg, a polifnira a mozgs a jellemz. Ebben a mozgsban a stt, passzv, mozgatott anyagot kpviseli, szemben a fnyteli, aktv, meghatroz formval, a tulajdonkppeni mozdulatlan mozgatval.142 Every living thing in its own kind, and in its due relation to the whole, proportione uniuersitatis, has been endowed with a sense of magnitude in space and time, so that as its body is in a certain proportion to the universal body of which it is a part, so its permitted life-time, aetas, is proportional to the whole duration of the universe, universi saeculi, of which it is a part It is by such an organization of parts according to scale that our world achieves its vast size, sic habendo omnia magnus est hic mundus: the world which in the Scriptures is called heaven and earth(6.7.19)3

In book 11 of his Confessions, Augustines idea of Judicial Rhythm in the cosmos, similar to the Ainurs Music, is represented as the creature through which the Creators own act of creation is somehow mediated. As Augustine inquires of God: But how did you speak [in creation]? [T]he utterance came through the movement of some created thing, serving your eternal will but itself temporal. And these your words, made for temporal succession, were reported by the external ear to the judicious mind whose internal ear is disposed to hear your eternal word. But that mind would compare these words, sounding in time, with your eternal word in silence(Augustine, Confessions 11.6, trans. Chadwick)4 Another well-known passage from Augustine dealing with music as a metaphor for cosmic order comes from a letter in which he compares the way a good song-writer knows how to distribute the length of time allowed to each word so as to make the song flow and pass on in most
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http://www.artifexfolyoirat.hu/2szam/zenealaszallasa.htm http://www.artifexfolyoirat.hu/2szam/zenealaszallasa.htm 3 http://jonathansmcintosh.wordpress.com/2012/08/03/augustines-metaphysics-of-music/ 4 http://jonathansmcintosh.wordpress.com/2012/08/03/augustines-metaphysics-of-music/

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beautiful adaptation to the ever-changing notes of the melody, to the way that God in his wisdom ensures that not one of the spaces of time allotted to natures that are born and diespaces which are like the words and syllables of the successive epochs of the course of timeshall have, in what we may call the sublime psalm of the vicissitudes of this world, a duration either more brief or more protracted than the foreknown and predetermined harmony requires! [E]very mans life on earth continues for a time, which is neither longer nor shorter than God knows to be in harmony with the plan according to which He rules the universe. (Augustine, Letters of St. Augustine 166.5.13, trans. Cunningham, emphasis added. See also Houghton, Augustine in the Cottage of Lost Play, 178)5
Spitzer describes Augustines notion of a transcendent, cosmic pattern both behind and unfolding within creation as a hymn scanned by God and a poem of the world which, like any poem, can only be understood in time by a soul which endeavors to understand the action of Providence, which itself unfolds in time The God-Artist, creating in time, realizes his idea, his providential decisions, like a musician (ibid., 316). Schopenhauer now comes to the highest art of music for whose unique position there has hitherto been no fitting place in the systematic [363] connection of his exposition. Music "stands alone, quite cut off from all the other arts." What can it be in this great and exceedingly noble art by which it affects the inmost nature of man so powerfully and is so entirely and deeply understood by him in his secretest consciousness? After giving himself up entirely to these impressions of all forms of music, which are usually left here as insolvable in their mystery, Schopenhauer then returned to reflection and an explanation of the nature of the imitative relation of music to the rest of the world. The independence of music and the secret of its influence he found in the explanation that in music we do not recognize the copy or repetition of any Idea of existence in the world. "Music is thus by no means like the other arts, the copy of the Ideas, but the copy of the will itself, whose objectivity these Ideas are. This is why the effect of music is much more powerful and penetrating than that of the other arts, for they speak only of shadows, but it speaks of the thing itself." Thus is explained the phenomenalism and individualism of the lesser arts as contrasted with the universality of music. "Music does not express this or that particular and definite joy, this or that sorrow, or pain, or horror, or delight, or merriment, or peace of mind; but joy, sorrow, pain, horror, delight, merriment, peace of mind themselves, to a certain extent in the abstract, their essential nature, without accessories, and therefore without their motives. Yet we completely understand them in this extracted quintescence. Hence it arises that our imagination is so easily excited by music, and now seeks to give form to that invisible yet actively moved spirit world which speaks to us directly, and to clothe it with flesh and blood, i. e. to embody it in an analogous example. This is the origin of the song with words, and finally of the opera, the text of which should therefore never forsake that subordinate position in order to make itself the chief thing and the music the mere means of expressing it, which is a great misconception and a piece of utter perversity; for music always expresses only the quintescence of life and its events, and never these themselves, and therefore their differences do not always affect it. It is precisely this universality, which belongs
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exclusively to it, together with the greatest determinateness, [364] that gives music the high worth which it has as the panacea for all our woes. Thus if music is too closely united to words, and tries to form itself according to the events, it is striving to speak a language which is not its own."7 "According to all this we may regard the phenomenal world, or nature, and music as two different expressions of the same thing"will, the fundamental world-stuff, expressing itself as nature indirectly and indistinctly as through Platonic Ideas, but immediately and subtilely in music as will-in-itself. "Music, therefore, if regarded as an expression of the world, is in the highest degree a universal language, which is related indeed to the universality of concepts, much as they are related [366] to the particular things.8 A hangszeres zene elmlete, amelyre az abszolt zenrl szlva Wagner hivatkozik, a romantikus metafizika volt. A "vgtelen s hatrozatlan kifejezs" azonban nem maradhatott a szellemvilg nyelve; vges s hatrozott kifejezss kellett vlnia, teht mintegy le kellett szllnia a fldre. "Minden meglv s elgondolhat dolog kezdete s alapja a valsgos rzki lt".39

Wagner eszttikjt mindamellett trsvonalak hlzzk be. Mr a nyelv is nellentmondsrl rulkodik: ellentmonds, hogy Wagner egyfell az abszolt zene "korltairl" beszl, msfell viszont arrl, hogy az abszolt zene a "vgtelent" fejezi ki. Ez az ellentmonds az tlet bels meghasonlottsgt jelzi.10

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http://users.belgacom.net/wagnerlibrary/articles/ney48218.htm#d0e934 http://users.belgacom.net/wagnerlibrary/articles/ney48218.htm#d0e934 9 http://www.muzsikalendarium.hu/muzsika/index.php?area=article&id_article=1285 10 http://www.muzsikalendarium.hu/muzsika/index.php?area=article&id_article=1285