Do I, with these personal interpolations, contribute anything which will explain that reproach which hurts me so, which I seek to interpret without making the smallest concession to it: the reproach of barbarism? It has probably more to do with a certain touch, like an icy finger, of mass-modernity in this work of religious vision, which knows the theological almost exclusively as judgment and terror: a touch of “streamline,” to venture the insulting word. Take thetestis, the witness and narrator of the horrid happenings: the “I, Johannes,” the describer of the beasts of the abyss, with the heads of lions, calves, men, and eagles—this part, by tradition assigned to a tenor, is here given to a tenor indeed but one of almost castrato—like high register, whose chilly crow, objective, reporterlike, stands in terrifying contrast to the content of his catastrophic announcements. When in 1926 at the festival of the International Society for New Music at Frankfurt the Apocalypse had its first and so far its last performance (under Klemperer) this extremely difficult part was taken and sung in masterly fashion by a tenor with the voice of a eunuch, named Erbe, whose piercing communications did actually sound like “Latest News of World Destruction.” That was altogether in the spirit of the work, the singer had with the greatest intelligence grasped the idea.—Or take as another example of easy technical facility in horror, the effect of being at home in it: I mean the loud-speaker effects (in an oratorio!) which the composer has indicated in various places and which achieve an otherwise never realized gradation in the volume and distance of the musical sound: of such a kind that by means of the loud-speaker some parts are brought into prominence, while others recede as distant choruses and orchestras. Again think of the jazz—certainly very incidental—used to suggest the purely infernal element: one will bear with me for making bitter application of the expression “streamlined” for a. work which, judged by its intellectual and psychological basic mood, has more to do with Kaisersaschern than with modern slickness and which I am fain to characterize as a dynamic archaism.
Soullessness! I well know this is at bottom what they mean who apply the word “barbaric” to Adrian’s creation. Have they ever, even if only with the reading eye, heard certain lyrical parts—or may I only say moments?—of the Apocalypse: song passages accompanied by a chamber orchestra, which could bring tears to the eyes of a man more callous than I am, since they are like a fervid prayer for a soul. I shall be forgiven for an argument more or less into the blue; but to call soullessness the yearning for a soul—the yearning of the little seamaid—that is what I would characterize as barbarism, as inhumanity!
I write it down in a mood of self-defence; and another emotion seizes me: the memory of that pandemonium of laughter, of hellish merriment which, brief but horrible, forms the end of the first part of the Apocalypse. I hate, love, and fear it; for—may I be pardoned for this all too personal excuse?—I have always feared Adrian’s proneness to laughter, never been able, like Rüdiger Schildknapp, to play a good second to it; and the same fear, the same shrinking and misgiving awkwardness I feel at this gehennan gaudium, sweeping through fifty bars, beginning with the chuckle of a single voice and rapidly gaining ground, embracing choir and orchestra, frightfully swelling in rhythmic upheavals and contrary motions to a fortissimo tutti, an overwhelming, sardonically yelling, screeching, bawling, bleating, howling, piping, whinnying salvo, the mocking, exulting laughter of the Pit. So much do I shudder at this episode in and for itself, and the way it stands out by reason of its position in the whole, this hurricane of hellish merriment, that I could hardly have brought myself to speak of it if it were not that here, precisely here, is revealed to me, in a way to make my heart stop beating, the profoundest mystery of this music, which is a mystery of identity.
For this hellish laughter at the end of the first part has its pendant in the truly extraordinary chorus of children which, accompanied by a chamber orchestra, opens the second part: a piece of cosmic music of the spheres, icily clear, glassily transparent, of brittle dissonances indeed, but withal of an—I would like to say—inaccessibly unearthly and alien beauty of sound, filling the heart with longing without hope. And this piece, which has won, touched, and ravished even the reluctant, is in its musical essence, for him who has ears to hear and eyes to see, the devil’s laughter all over again. Everywhere is Adrian Leverkühn great in making unlike the like. One knows his way of modifying rhythmically a fugal subject already in its first answer, in such a way that despite a strict preservation of its thematic essence it is as repetition no longer recognizable. So here—but nowhere else as here is the effect so profound, mysterious and great. Every word that turns into sound the idea of Beyond, of transformation in the mystical sense, and thus of change, transformation, transfiguration, is here exactly reproduced. The passages of horror just before heard are given, indeed, to the indescribable children’s chorus at quite a different pitch, and in changed orchestration and rhythms; but in the searing, susurrant tones of spheres and angels there is not one note which does not occur, with rigid correspondence, in the hellish laughter.
That is Adrian Leverkühn. Utterly. That is the music he represents; and that correspondence is its profound significance, calculation raised to mystery. Thus love with painful discrimination has taught me to see this music, though in accordance with my own simple nature I would perhaps have been glad to see it otherwise.
CHAPTER XXXV
The new numeral stands at the head of a chapter that will report a death, a human catastrophe in the circle round my friend. And yet, my God, what chapter, what sentence, what word that I have written has not been pervaded by the catastrophic, when that has become the air we breathe! What word did not shake, as only too often the hand that wrote it, with the vibrations not alone of the catastrophe towards which my story strives but simultaneously of that cataclysm in whose sign the world—at least the bourgeois, the human world—stands today?
Here we shall be dealing with a private, human disaster, scarcely noted by the public. To it many factors contributed: masculine rascality, feminine frailty, feminine pride and professional unsuccess. It is twenty-two years since, almost before my eyes, Clarissa Rodde the actress, sister of the just as obviously doomed Inez, went to her death: at the end of the winter season of 1921-2, in the month of May, at Pfeiffering in her mother’s house and with scant consideration for that mother’s feelings, with rash and resolute hand she took her life, using the poison that she had long kept in readiness for the moment when her pride could no longer endure to live.
I will relate in few words the events which led to the frightful deed, so shattering to us all though at bottom we could hardly condemn it, together with the circumstances under which it was committed. I have already mentioned that her Munich teacher’s warnings had proved all too well founded: Clarissa’s artistic career had not in the course of years risen from lowly provincial beginnings to more respectable and dignified heights. From Elbing in East Prussia she went to Pforzheim in Baden—in other words she advanced not at all or very little, the larger theatres of the Reich gave her not a thought. She was a failure or at least lacking any genuine success, for the simple reason, so hard for the person concerned to grasp, that her natural talent was not equal to her ambition. No genuine theatre blood gave body to her knowledge or her hopes or won for her the minds and hearts of the contrarious public. She lacked the primitive basis, that which in all art is the decisive thing but most of all in the art of the actor—whether that be to the honour or the dishonour of art and in particular the art of the stage.
There was another factor which added to Clarissa’s emotional confusion. As I had long before observed with regret, she did not make a clear distinction between her stage life and her real one. Possibly just because she was no true actress, she played actress even outside the theatre. The personal and physical nature of stage art led her to make up in private life with rouge and cosmetics, exaggerated hairdressing and extravagant hats: an entirely unnecessary and mistaken self-dramatization which affected her frie
nds painfully, invited criticism from the conventional, and encouraged the licentious. All this without wish or intention on her part, for Clarissa was the most mockingly aloof, chaste, and high-minded creature imaginable, though her armour of arrogance may well have been a defence mechanism against the demands of her own femininity. If so, she was the blood sister of Inez Institoris, the beloved—or ci-devant beloved—of Rudi Schwerdtfeger.
In any case, to that well-preserved sixty-year-old man who wanted to make her his mistress, there succeeded this or that un-chronicled trifler with less solid prospects, or one or another favourable critic who might have been useful to her but being repulsed revenged himself by pouring public scorn on her performance. And finally fate overtook her and put to shame her contemptuous way of looking down her nose. It was a defeat the more lamentable in that the conqueror of her maidenhood was not at all worthy of his triumph and was not even so deemed by Clarissa herself. He was a pseudo-Mephistopheles, a Pforzheim petticoat-chaser, back-stage hanger-on and provincial roue, by profession a criminal lawyer. He was equipped for conquest with nothing but a cheap and cynical eloquence, fine linen, and much black hair on his hands. One evening after the play, probably a little the worse for wine, the prickly but at bottom shy, inexperienced, and defenceless creature yielded to his practised technique of seduction and afterwards was prey to the most scathing self-contempt. For the betrayer had indeed been able to capture her senses for the moment but she actually felt for him only the hatred his triumph aroused, together with a certain astonishment that she, Clarissa Rodde, could have been thus betrayed. She scornfully rejected his further addresses; but she was frightened lest he might betray their relation—in fact he was already threatening to do so as a means of bringing pressure.
Meanwhile decent human prospects had opened to the girl in her disillusioned and nervous state. Among her social connections she had made the acquaintance of a young Alsatian business man who sometimes came over from Strasbourg to Pforzheim and had fallen desperately in love with the proud and stately blonde. Clarissa was not at this time entirely without an engagement; having remained for another season at the Pforzheim theatre, though only in secondary and unrewarding parts. Even so, the re-engagement was due to the sympathy and mediation of an elderly dramatist, who while sceptical as to her acting abilities esteemed her general intellectual and human worth, which was so greatly, even disadvantageously superior to the average among the little stage folk. Perhaps, who knows, this man even loved her, but was too much resigned to the disappointments and disillusionments of life to summon up courage to declare his inclination.
At the beginning of the new season, then, Clarissa met the young man who promised to rescue her from her unsuccessful career and to offer her as his wife a peaceful and secure, yes, well-furnished existence in a sphere strange to her, indeed, but socially not alien to her own origins. With unmistakable joy and hope, with gratitude, yes, with a tenderness rooted in her gratitude, she wrote to her sister and even to her mother of Henri’s wooing and also about the disapproval of his family. He was about the same age as Clarissa, his mother’s darling, his father’s business partner, and altogether the light of his family’s eyes. He put his case to them with ardour and strength of purpose; but it would have taken more than that to overcome all at once the prejudice of his bourgeois clan against an itinerant actress and a boche into the bargain. Henri understood his family’s concern for refinement and good taste, their fear that he might be getting entangled. It was not so easy to convince them that he would by no means be doing so in bringing Clarissa home; the best way would be for him to present her personally to his loving parents, jealous brothers and sisters, and prejudiced aunts, and towards this goal he had been working for weeks, that they might consent and arrange an interview. In regular letters and repeated trips to Pforzheim he reported progress to his betrothed.
Clarissa was confident of success. Her social equality, only clouded by the profession she was ready to renounce, must become plain to Henri’s anxious clan at a personal meeting. In her letters and during a visit she made to Munich she took for granted her coming official betrothal and the future she anticipated. That future, to be sure, looked quite different from the earlier dreams of this uprooted child of patrician stock, striving towards intellectual and artistic goals. But now it was her haven, her happiness: a bourgeois happiness, which obviously looked more acceptable because it possessed the charm of novelty; the foreign nationality was a new frame into which she would be transplanted. In fancy she heard her future children prattling in French.
Then the spectre of her past rose up to blast her hopes. It was a stupid, cynical, ignoble spectre but bold and ruthless; and it put her to shame, it drove the poor soul into a corner and brought her to her death. That villain learned in the law, to whom in a weak moment she had surrendered, used his single conquest to enforce her. Henri’s family, Henri himself should learn of their relation if she did not yield to him again. From all that we later learned, there must have been desperate scenes between the murderer and his victim. In vain the girl implored him—on her knees at last—to spare her, to release her, not to make her pay for her peace with the betrayal of the man who loved her, whose love she returned. Precisely this confession roused the wretch to cruelty. He made no bones of saying that in giving herself to him now, she was buying peace only for the moment, buying the trip to Strasbourg, the betrothal. He would never release her: to pay himself for his present silence he would compel her to his will whenever he chose. He would speak out as soon as she denied her debt. She would be forced to live in adultery: a just punishment for her philistinism, for what the wretch called her cowardly retreat into bourgeois society. If all that went wrong, if even without his treachery her little bridegroom learned the truth, then there still remained the last resort, the out-crowing drug which for so long she had kept in that objet d’art, the book with the death’s-head on the lid. Not for nothing had she felt superior to life and made macabre mock of it by her possession of the Hippocratic drug—a mock that was more in character than the bourgeois peace treaty with life for which she had been preparing.
In my opinion the wretch, aside from satisfying his lust, had aimed at her death. His abnormal vanity demanded a female corpse on his path, he itched to have a human being die and perish, if not precisely for him, yet on his account. Alas, that Clarissa had to gratify him! She saw the situation clearly, just as I see it, as we all had to see it. Once again she yielded, to gain a present peace, and was thereby more than ever in his power. She probably thought that once accepted by the family, once married to Henri and safe in another country, she would find ways and means to defy her oppressor. It was not to be. Obviously her tormentor had made up his mind not to let matters go as far as marriage. An anonymous letter referring in the third person to Clarissa’s lover did its work with Henri and his Strasbourg family. He sent it to her that she might, if possible, deny it. His accompanying letter did not precisely display an unshakable faith and love.
Clarissa received the registered letter in Pfeiffering, where after the close of the Pforzheim theatre season she was spending a few weeks with her mother in the cottage under the chestnut trees. It was early afternoon. The Frau Senator saw her daughter hurrying back from a walk she had taken alone, after the midday meal. They met on the little open place in front of the house and Clarissa brushed past her mother with a blank, dazed look and fugitive smile, into her own room, where with a swift and violent movement she turned the key in the door. Next door the old lady presently heard her daughter at the wash-hand-stand, gargling her throat—we know now that it was to cool the fearful corrosive action of the acid. Then there was a silence—long and uncanny. After twenty minutes the Frau Senator knocked and called Clarissa’s name. Repeatedly and urgently she called but no answer came. The frightened woman, with her scanty hair awry over her brow, her partly toothless gums, ran across to the main building and in half-choked words told Frau Schweigestill; that experienced soul followed
her with a manservant. After repeated knocking and calling they forced the door. Clarissa lay with open eyes on the sofa at the foot of the bed, a piece from the seventies or eighties of the last century, with a back and side arm; I knew it from the Rambergstrasse. She had retreated there when death came upon her while she gargled her throat.