The GVSC Review

Volume 2 | Issue 1 Article 11

1-1-1975 The ultC of Beauty Richard B. Marks Grand Valley State University

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Recommended Citation Marks, Richard B. (1975) "The ultC of Beauty," The GVSC Review: Vol. 2: Iss. 1, Article 11. Available at: http://scholarworks.gvsu.edu/gvsc_review/vol2/iss1/11

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THE CULT OF BEAUTY

•'=if-~ ~ RICHARD B. MARKS

Published by ScholarWorks@GVSU,In angry 1975 disputes you argued and struggled; 1 Now leave your wilderness of thinking! Feel this with me: that all the arts have only one home and one desire. Each in its heart seeks beauty alone. Countess Madeleine in CAPRICCIO by Richard Strauss and Clemens Krauss The stage has been set as an eighteenth century salon in a chateau near Paris. A delightful afternoon is drawing to a close, an afternoon filled with witty and thoughtful repartee on the nature of opera itself by Flamand, a composer, Olivier, a poet, La Roche, a producer, and others. Now, after the finest ensemble argument scene in the whole of operatic literature, the EWIGWEIBLICHE Countess Madeleine, patro­ ness of the arts, steps forward to encourage the three creators of opera to set into produ~tion what they have been creating with their heartfelt arguments all day Iong-an opera about a composer, a poet, a producer, a patroness, a diva, and assorted secondary characters in the process of creating an opera. Here in his last opera Richard Strauss, at the age of seventy-eight and in the ninth catastrophic year of the Third Reich, re­ affirmed, in a romanticization of the style of Gluck or Mozart, the Wag­ nerian ideal of the inseparability of music, text, and production for music drama, the union of the purely aesthetic, of the meaningful or referential, and of the the historical contexts.

The aesthetic and political ironies are striking. They were evoked, several years ago, by Ken Russell in his BBC film biography of Strauss, "Dance of the Seven Veils." Russell used his baroque-camp visuals to ex- ahara 33 The GVSC Review, Vol. 2 [1975], Iss. 1, Art. 11

plait the political irony: over an actual film of the septuagenarian Strauss have taken a radical turn tm conducting his "Alpine Symphony" was superimposed a scene in which an SS oficer is raping, ostensibly, the composer's wife. Clearly, the impli­ That, at any rate, is cation is that the high priest of beauty was blind to the heinous crimes THE LAST OF THE NUB~ surrounding him. Literally, Frau Strauss was never raped by an SS offi­ ary 17, 1975). Sontag sees · cer, but in a certain sense everyone in Germany was; and Russell wanted photographic essay, as the to say that anyone who turned his back on such crimes was also guilty Riefenstahl, for her part, c of them. and "Olympia," though pre an apolitical artist who felt Russell, like Lord Acton's hanging judge of history, sought in art lies and the 1936 Berlin Oh to reverse the judgment of the Nuremburg Trials, where Strauss was ful. She assumes no responsi de-Nazified. Although some critics regarded Russell's film essay as vulgar excess, many in opera circles felt that Strauss was finally getting justice. In the 1960's, Sontag Strauss was not, indeed, an admirable person; but this does not distin­ plicitly accepted R iefenstah guish him from most people, nor from many great artists either. Perhaps the turnabout? The answer i he has drawn down upon himself a greater share of disdain because, not content merely to practise his art in its purest form, he argued, in that Photography, she exp art itself, for an art without argument. Such forthright fascists as Pound peal more immediate, more and Celine have fared better, perhaps because their art and their beliefs art. Its visual images speak t are integrated into a coherent and consistent, albeit perverse, whole. cular photograph book, the Strauss seduces us with his bourgeois sounds and with the libretti he used would be unnatural not to while the morality of his life betrays both. Hence the consistent fascism would be unnatural to rem of Pound and Celine seems preferable to the rather obtuse accommoda­ Olympic runners and divers, tions to which Strauss lent himself. ever strong, however natura suppress the meaning of thE It is still the old question of art for art's sake as opposed to art historically this be«;luty pain in the service of something other, higher, than art. Clearly, in CAPR 1- And with that insight carr CCIO, the Countess speaks for Strauss when she says "Each [of the those beautifu I images is ta arts] in its heart seeks beauty alone." At some other time, in other cir­ any taboo to which we hav, cumstances, this might have passed as an acceptable evocation of an al­ then, may be amoral7 but t ready old artistic tradition. But in 1942, in Dresden, in the last stages stances of beauty necessarily of the most abominable regime ever, this operatic premiere seems heart­ less to the point of immorality, like the Grosse Pointe Hunting Club's Yet the question abi Great Depression nostalgia party celebrated even while Detroit is in a AGAINST INTERPRETATI real depression. her work of the mid-sixtiE logic-ugliness for their cap But art practised for art's sake has a more terrifying aspect; for the culture is created. But wh artist who intends a safe and ostensibly harmless product creates the culture with its bourgeois err means to control people. So it is no surprise that in our times, Strauss' moral problem-Is there a special relationship between the cult of beauty The question can be < and fascism?-is as lively as ever. Susan Sontag has been struggling with graphy. Now pornography 1 the issue for over a decade, during which time her aesthetic positions please an apetite which has

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,f the septuagenarian Strauss have taken a radical turn toward the conservative. ,erimposed a scene in which ;er's wife. Clearly, the impli­ That, at any rate, is implied by her review of Leni Riefenstahl's blind to the heinous crimes THE LAST OF THE NUBA (NEW YORK REVIEW OF BOOKS, Febru­ ; never raped by an SS offi­ ary 17, 1975). Sontag sees this book, which is an exquisitely beautiful my was; and Russell wanted photographic essay, as the third part of Riefenstahl's "fascist trilogy." such crimes was also guilty Riefenstahl, for her part, claims the first two, "Triumph of the Will" and "Olympia," though produced for the Nazis, were the expression of an apolitical artist who felt that the subjects, the Nuremburg party ral­ lge of history, sought in art lies and the 1936 Berlin Olympics, were simply and intrinsically beauti­ Trials, where Strauss was ful. She assumes no responsibility for their propaganda value. Russell's film essay as vulgar :;s was finally getting justice. In the 1960's, Sontag exalted form over meaning, that is, she im­ >n; but this does not distin­ plicitly accepted Riefenstahl's position. Now she puts meaning first. Why , great artists either. Perhaps Publishedthe turnabout? by ScholarWorks@GVSU, The answer is 1975implied in her review. 3 hare of disdain because, not ~st form, he argued, in that Photography, she explains, is a popular art form that makes an ap­ forthright fascists as Pound peal more immediate, more purely sensual, less cerebral than that of high ;e their art and their beliefs art. Its visual images speak the language of the average man. In this parti­ ent, albeit perverse, whole. cular photograph book, the language is beautiful bodies in action and it md with the libretti he used would be unnatural not to have a sensual response to the images, as it ~ence the consistent fascism would be unnatural to remain indifferent to the sensual beauty of the ! rather obtuse accommoda- Olympic runners and divers, or to the Nazi party on the march. Yet how­ ever strong, however natural, our immediate response, we cannot forever suppress the meaning of these visual images; we realize, eventually, that art's sake as opposed to art historically this be~uty points to the Holocaust and to Europe in ruins. han art. Clearly, in CAPR l­ And with that insight comes moral nausea, guilt, for the meaning of en she says "Each [of the those beautiful images is taboo and revulsion is the normal reaction to me other time, in other cir­ any taboo to which we have been properly socialized .. Beauty in itself, ;eptable evocation of an ai- then, may be amoral7 but the particular form and the historical circum­ Dresden, in the last stages stances of beauty necessarily affect us morally. eratic premiere seems heart­ ·osse Pointe Hunting Club's Yet the question abides: Why did Sontag change her mind? In even while Detroit is in a AGAINST INTERPRETATION and in STYLES OF RADICAL WILL, her work of the mid-sixties,she accepts beauty and-with Genet-like logic-ugliness for their capacity to create new sensibilities. Thus new >re terrifying aspect; for the culture is created. But what went wrong? Why now return to the old trmless product creates the culture with its bourgeois emphasis on meaning and morality? ! that in our times, Strauss' between the cu It of beauty The question can be dealt with more simply in relation to porno­ ag has been struggling with graphy. Now pornography can be arty, but it is rarely art. It aims to ime her aesthetic positions please an apetite which has various levels of compromise. Sometimes it

35 r The GVSC Review, Vol. 2 [1975], Iss. 1, Art. 11

is gross and gives us a sense of guilt even while pleasing us. Sometimes it is "beautiful" and "frees" us to understand our "sexual personalities." ciate mass marketing of en This view of pornography as therapy has become a liberal canon, pos­ tality. Just as she derived h sibly because of the writings of aestheticians like Sontag: erwood's THE WORLD IN her recent NEW YORK RE The only thing to be regretted about the close-ups following short excerpt fron of limp penises and bouncing breasts, the shots of masturbation and oral sexuality, in jack Smith's Waldemar is, "Flaming Creatures" is that they make it hard sim­ chiefly because t ply to talk about this remarkable film; one has to opinions he respe defend it . ... "Flaming Creatures" is a triumphant been exposed to example of an aesthetic vision of the world-and brother type of 1' such a vision is perhaps always, at its core, epicene. to answer for the But this type of art has yet to be understood in this had grown accu country. The space in which "Flaming Creatures" brown uniforms, moves is not the space of moral ideas, which is fights and beatin! where American critics have traditionally located heading of "polit art. What I am urging is that there is not only moral get done. He is a g space, by whose laws "Flaming Creatures" would going boy, and I d come off badly; there is also an aesthetic space, the pable of serious c space of pleasure. Here Smith's film moves and has tality in others d, its being. gain and again I h this rather sinister This is vintage Sontag, the critic at the defense of the new sensibi­ they don't have tc lity. And from our vantage point, ten years later, who would deny that bing, or even kno~ the new sensibility has triumphed? Defending limp penises, bouncing that Waldemar ins. breasts, and bisexuality is hardly AU COURANT for the critic today; we the "cruel"ladies are liberated. Just four years ago Alice Cooper, in his drag outfit, ripping trade outside the heads off dolls, parading around with boa constrictors, was shocking; young thugs in !IJ now he's doing spots on TV game shows. Will that be the fate of Linda nowadays pushing Lovelace, Georgina Spelvin, and the other heroines of the liberated mid­ the booted ladies dle class? Is it the true talent of American mass culture to reduce all she used to grab h shock to blandness? Is there anything left for which the limited sexuCJ\ him off to be whi1 imagination of erstwhile urbane people can aspire? Alex Comfort, in actly the same tl; THE JOY OF SEX, has given the stamp of approval on bondage, and it cept that the whi will not be long before the chains, the black leather outfits, and the the one a kind of other toys for sado-masochism become standard features of mass culture the other? rather than the exclusive possessions of the sexually bored of the urban .. . But now t centers. have to admit to n ously involved, ne This phenomenon now disturbs Sontag, perhaps because Christo­ excited spectator. pher Isherwood's experiences of the 1930's have persuaded her to asso- I came quite irresp having thoroughly

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hile pleasing us. Sometimes it d our "sexual personalities." ciate mass marketing of cruelty with the formation of the fascist men­ become a liberal canon, pos­ tality. Just as she derived her main ideas in NOTES ON CAMP from Ish­ ; like Sontag: erwood's THE WORLD IN THE EVENING, much of what she said in her recent NEW YORK REVIEW OF BOOKS article can be seen in the ·bout the close-ups following short excerpt from his DOWN THERE ON A VISIT: ·easts, the shots of ', in jack Smith's Waldemar is a convinced anti-Nazi-but perhaps make it hard sim­ chiefly because that is the way the people whose 'e film; one has to opinions he respects happen to feel. If he had eve s" is a triumphant been exposed to the influence of a personable big­ of the world-and brother type of Nazi youth leader, I wouldn't care tits core, epicene. to answer for the consequences. As for himself he understood in this had grown accustomed, like every Berliner, to laming Creatures" Published by ScholarWorks@GVSU,brown uniforms, mass 1975 meetings, police raids, street 5 al ideas, which is fights and beatings; to him, they come under the ·ditionally located heading of "politics"-the manner in wbich things ~is not only moral get done. He is a good natured, happy-go-lucky,easy­ Creatures" would going boy, and I don't think that he is personally ca­ resthetic space, the pable of serious cruelty; but it is obvious that bru­ ilm moves and has tality in others doesn't particularly shock him. A­ gain and again I have noticed in boys like Waldemar this rather sinister instinctive acceptance of sadism; 1e defense of the new sensibi­ they don't have to have read one page of Kraft-Eb­ ; later, who would deny that bing, or even know what the word means. I'm sure ding limp penises, bouncing that Waldemar instinctively feels a relation between ANT for the critic today; we the "cruel"ladies in boots who used to ply their >er, in his drag outfit, ripping trade outside the Kaufhaus des Westens and the

1 constrictors, was shocking; young thugs in Nazi uniforms who are out there ~ill that be the fate of Linda nowadays pushing the jews around. When one of 1eroines of the liberated mid­ the booted ladies recognized a promising customer, , mass culture to reduce all she used to grab him, haul him into a cab and whisk for which the limited sexua\ him off to be whipped. Don't the S.A. boys do ex­ m aspire? Alex Comfort, in actly the same thing with THEIR customers-ex­ approval on bondage, and it cept that the whipping is in fatal earnest? Wasn't ack leather outfits, and the the one a kind of psychological dress rehearsal for dard features of mass culture the other? sexually bored of the urban .. . But now the Nazis are in power. And now I have to admit to myself that I have never been seri­ ously involved, never been a real partisan; only an tag, perhaps because Christo­ excited spectator . ... When I first came to Berlin, have persuaded her to asso- I came quite irresponsibly, for a thrill ....However, having thoroughly explored the Berlin night life and

37 The GVSC Review, Vol. 2 [1975], Iss. 1, Art. 11

begun to get tired of it, I grew puritanical. I severely might fulfill me. I criticized those depraved foreigners wbo V!S!tea 13er­ do not destroy it. , lin in search of pleasure . .. .My indignation was per­ not upsetting anytl fectly sincere and even justified; Berlin nightlife, sib/e. I'm stealing in when you saw it from behind the scenes, was pitiful enough. But have I really changed underneath? Genet is talking ab< Aren't I as irresponsible as ever, running away from hypocritical bourgeois societ~ a situation like this? Isn't it somehow a betrayal? vert thief in tie and jacket) E disguised actuality. Here the Clearly, in the face of the "anything goes" society, the author re­ they always have been, but r acts puritanically, searching for meaning and even for guilt because he The scholastic theologian, b1 has not committed himself to a righteous cause. could only speak about Hirr for the mystic who stood d The evil of Germany in the 1930's was objective, palpable, and knowledge were irrelevant. I oppressive even to a committed outlaw like Genet. Even in his inverted mysteries, thus historical cui world of good and evil, Nazism takes on an ultimate character which decadent hindrance to the a seems to negate the ordinary human definition of evil, just as the medie­ val VIA NEGATIVA denied the use of the human term "good" to des­ Then what is left I cribe the unknowable transcendent "good" of God; new terminologies death wish? In her review of are needed, without which Genet, in THE THIEVE'S JOURNAL, can out that Riefenstahl's films ' hardly cope with the Nazi phenomenon: nor an irresistible force whicl the abandonment of rationali "Triumph of the Will" thi! In order to get to Antwerp I had just gone presents a more subtle case. : through Nazi Germany, where I had stayed a few pears neutral; without any fE months. I walked from Breslau to Berlin. I would consummate work of art. Y1 have liked to steal. A strange force held me back. Hitler is a presence under w Germany terrified all of Europe; it had become, the sake of struggle. Of cou particularly to me, the symbol of cruelty. It was al­ scheduled for Berlin in 1936, ready outside the law. Even on Unter den Linden show. And like the "cruel Ia< I had the feeling that I was strolling about in a replaced by the Storm Troor: camp organized by bandits. I thought that the soon surrender themselves t< brain of the most scrupulous bourgeois concealed ganza, the European Gotterdc; treasures of duplicity, hatred, meanness, cruelty and lust. I was excited at being free amidst an en­ The Nuba too are c tire people that had been placed on the index. Pro­ and the great ceremonies of · bably I stole there as elsewhere, but I felt a certain and the funerals. For Sonta constraint, for what governed this activity and picture book is part of the 1 what resulted from it~this particular moral atti­ umph of the Will." "Death 1 tude set up as a civic virtue~was being experienced middle-brow culture for seve by a whole nation which directed it against others. TERDAMMERUNG, and PAl "It's a race of thieves," I thought to myself. moment. TRISTAN is probal "If I steal here, I perform no singular deed that http://scholarworks.gvsu.edu/gvsc_review/vol2/iss1/11 6 38 Marks: The Cult of Beauty

·itanical. I severely might fulfill me. I obey the customary order; I rs w b o vzstte a Her­ do not destroy it. I am not committing evil. I am dignation was per­ not upsetting anything. The outrageous is impos­ ; Berlin nightlife, sible. I'm stealing in the void." scenes, was pitiful zged underneath? Genet is talking about a confrontation with the ultimate. In a unning away from hypocritical bourgeois society, the practicing thief (as opposed to the co­ ehow a betrayal? vert thief in tie and jacket) emerges as a hero whose actions bespeak un­ disguised actuality. Here the good burghers are not only thieves, which goes" society, the author re­ they always have been, but now they revel in their forthright banditry. ld even for guilt because he The scholastic theologian, because of the human separation from God, ISe. could only speak about Him in well-chosen but still elusive terms; but for the mystic who stood directly before the Ultimate, words and all was objective, palpable, and knowledge were irrelevant. In the "anything goes" society there are no ~ Genet. Even in his inverted Publishedmysteries, by ScholarWorks@GVSU, thus historical culture 1975 with its moral traditions is seen as a 7 1n ultimate character which decadent hindrance to the actualization of the new perceived realities. ion of evil, just as the medie­ human term "good" to des­ Then what is left but death, the surrender to an irresistible . of God; new terminologies death wish? In her review of THE LAST OF THE NUBA, Sontag points THIEVE'S JOURNAL, can out that Riefenstahl's films "The Mountain" and "The Blue Light" ho­ nor an irresistible force which ultimately leads to death. Their theme is the abandonment of rationality for feeling under a charismatic leader. In "Triumph of the Will" this theme is obvious. However, "Olympia" • I had just gone presents a more subtle case. Since it is about the Olympic Games, it ap­ 1ad stayed a few pears neutral; without any feelings of guilt, film buffs can claim it as a , Berlin. I would consummate work of art. Yet the fascist theme is there. Throughout, :e held me back. Hitler is a presence under whose auspices beautiful bodies struggle for it had become, the sake of struggle. Of course, the games just happened to have been ·ruelty. It was al­ scheduled for Berlin in 1936, but the film appropriates them as Hitler's nter den Linden show. And like the "cruel ladies" of Berlin, who had by this time been lling about in a replaced by the Storm Troopers, the Olympic warriors of the games will bought that the soon surrender themselves to another mysterious or aesthetic extrava­ rgeois concealed ganza, the European Gotterdammerung of 1939-45. eanness, cruelty ee amidst an en­ The Nuba too are a beautiful people in the process of dying, n the index. Pro­ and the great ceremonies of their culture are the male wrestling matches ~t I felt a certain and the funerals. For Sontag, then, the very subject of Riefenstahl's 1is activity and picture book is part of the tradition that gave us "Olympia" and "Tri­ ;ular moral atti­ umph of the Will." "Death tripping" has been part of our popular and eing experienced middle-brow culture for several years. TRISTAN UNO ISOLDE, GOT­ it against others. TERDAMMERUNG, and PARSIFAL seem to be campus favorites at the ought to myself. moment. TRISTAN is probably Wagner's most united work, the one in rgular deed that 39 1 The GVSC Review, Vol. 2 [1975], Iss. 1, Art. 11

which music and theme collaborate best; yet that its theme of the love­ wiles of Circe. Ariadne has death as irresistible as orgasm itself should become so popular seems a her identity, but they fall n bit disturbing in historical perspective. light of Zerbinetta, while o pumped out by the small Me Our opening quotation expresses, in an innocent and nostalgic way, appropriate to a lady in white silk dress, exactly those ideas we now What does this all n associate with men in black SS uniforms. It is all there: the struggle, the riage that G I uck had to tc: abandonment of thought, the surrender to feeling. The countess might operas such as IPHIGENIE I appear to be a FUHRER IN of artists, the eternal feminine, sexuality sub­ artist transcending bourgeoi~ limated. The words are there, interpretations can be made, but the mus­ vidual to Dionysian emotior ic, which is so delicate, seems to ne~ate, some would ar:que. an.v case that the tradition of Riefenstahl' this opera serves fascist themes. We frequently hear the platitude that the decade of ARIADNE'S pre surging emotionalism of Wagner's and Strauss's music is fascist, but the emotional state of intellectu former's became "fascist" when it was used by the Nazis, especially when blasted over the concentration camp loudspeakers. Music alone is "There is a kingdor not political; however, the music drama tradition emphasizes the impor­ of the Dead. Here, nothing i tance of the interrelationship of words and music. The style and colora­ despairs. This theme of dec< tion of the music does not necessarily indicate political intent. For ex­ STI L, could end up with de ample, in 1938 Strauss employed the dramatic, full-blown Wagnerian mu­ birth in the New Order thro sical style to challenge fascism with his critically-acclaimed, but still George to "Olympia" was rarely performed,anti-war opera, FRIEDENSTAG. On the other hand, route in DER ROSENKAV.t CAPRICCIO (1942) and the earlier ARIADNE AUF NAXOS (1916) Werdenberg, conscious that show that proto-fascist themes could subtly operate within the music of that she is going to have to neo-Mozartian nostalgia. role has to be sung by a me tier, but less sophisticated ~ ARIADNE is an opera within an opera. The prologue takes sented musically by lumberi place in the wings of the palace theater of the richest (and perhaps most to fin de siecle Vienna itse vulgar) man in Vienna in the late-eighteenth century. Members of a com­ nocent youth, swells with media dell'arte company and of an opera company are milling about and the mezzo. talking shop. Suddenly there is disconcerting news from the major­ domo: in order for a fireworks display to be given at 9:00 sharp, the The thirst for deca< commedia and the opera seria, ARIADNE, will have to be performed si­ of the old order would int multaneously. The news chagrins the composer and delights the come­ whether it be Arcadian ae! dians. Thus as the actual opera within the opera progresses we have Zer­ Despite the ironic elements binetta and her companions attempting to cheer up the mournful Ariad-­ dead serious in his aesthetici ne with song and dance. The contrast of musical and theatrical styles is he had the misfortune of liv pure delight. The seductive final scene of the whole double opera at­ repellent realities of the Ne tempts to achieve transcendence over this bourgeois vulgarity. Ariadne that situation, he was reduct longs for a kingdom where all is pure, in fact, the kingdom of the dead, a role which he accepted. ~ for all that surrounds her, she says, is corrupt. So she awaits a messenger the theaters filled with peop of the gods to take her to the kingdom of the dead. Indeed, a god does he had during the Third RE come to her-Bacchus, not a messenger of death but a refugee from the with the Nazis because of h

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t that its theme of the love­ wiles of Circe. Ariadne has no idea who he really is, nor does he know become so popular seems a her identity, but they fall madly in love much to the matchmaking de­ light of Zerbinetta, while one of Strauss's most romantic tunes is then pumped out by the small Mozartian orchestra. End of the opera. n an innocent and nostalgic , exactly those ideas we now What does this all mean? Is it a parody of the conventional mar­ is all there: the struggle, the riage that Gluck had to tag onto the conclusions of his Paris-period feeling. The countess might operas such as IPHIGENIE EN AULIDE? Does it represent the romantic rnal feminine, sexuality sub­ artist transcending bourgeois vulgarity? Or is it the surrender of the indi­ s can be made, but the mus­ vidual to Dionysian emotionalism? If it is the latter, it appears to be in e would ar:oue. anv case that the tradition of Riefenstahl's early films (which were produced within a y hear the platitude that the decade of ARIADNE'S premiere): blindly following the leader to an ss's music is fascist, but the emotional state of intellectual abandonment ultimately leading to death. ed by the Nazis, especially oudspeakers. Music alone is Published by ScholarWorks@GVSU,"There is a kingdom 1975 where all is pure-it is called the Kingdom 9 ition emphasizes the impor­ of the Dead. Here, nothing is pure. Here, everything is corrupt," Ariadne music. The style and colora­ despairs. This theme of decadence, so beloved by the German JUGEND­ :ate political intent. For ex­ STI L, could end up with death tripping, or its analog, the pursuit of re­ c, full-blown Wagnerian mu­ birth in the New Order through the cult of youth. The road from Stefan ritically-acclaimed, but still George to "Olympia" was not a long one, and Strauss travelled that STAG. On the other hand, route in DER ROSENKAVALIER (1911). In the latter, the Princess of DNE AUF NAXOS (1916) Werdenberg, conscious that she is aging (she is all of thirty-two) knows operate within the music of that she is going to have to give over her young lover (so young that his role has to be sung by a mezzo-soprano) to the arms of a younger, pret­ tier, but less sophisticated woman. In this opera the old order is repre­ opera. The prologue takes sented musically by lumbering, off-beat waltz themes (a clear reference 1e richest (and perhaps most to fin de siecle Vienna itself), while the final trio, an apotheosis of in­ century. Members of a com­ nocent youth, swells with orgasmic arpeggios from the two sopranos company are milling about and the mezzo. ting news from the major­ be given at 9:00 sharp, the The thirst for decadence had its apocalyptic element: the decay viii have to be performed si­ of the old order would introduce a new age of youthful innocence­ oser and delights the come­ whether it be Arcadian aestheticist, communist, anarchist, or fascist. Jera progresses we have Zer­ Despite the ironic elements of word and music in his operas, Strauss was eer up the mournful Ariad-­ dead serious in his aestheticist vision and its ultimate meaning. However, sical and theatrical styles is he had the misfortune of living on after that vision had palled within the he whole double opera at­ repellent realities of the New Order elevated to power in Germany. In IOurgeois vulgarity. Ariadne that situation, he was reduced to being a purveyor of nostalgic pleasure, t, the kingdom of the dead, a role which he accepted. He readily admitted his concern for keeping t. So she awaits a messenger the theaters filled with people paying to hear his works, and popularity 1e dead. Indeed, a god does he had during the Third Reich, even though he was persona non grata ~ath but a refugee from the with the Nazis because of his collaboration with Stefan Zweig on THE

41 .._ The GVSC Review, Vol. 2 [1975], Iss. 1, Art. 11

Sl LENT WOMAN. Strauss at worst was an archetype of the hypocritical rather, the situation dema bourgeois artist. With him beauty came to exist for its own sake and its meaning was hermetically seaied within the work itself; in Riefenstahl's society holds a very delic;; work, on the contrary, beauty had a direct and terrifying propagandistic from the Storm Troopers, meaning. Yet Strauss could be useful for the Nazis; the purveying of guarantee through the meri pleasure can be used for political control. One is reminded of the scene come to power. To use ce in Godard's "Sympathy for the Devil ( 1+1)" where the owner of a the Troopers inevitable. pornography store reads from ME IN KAMPF while customers peruse the merchandise. Strauss created an art of acquiescence.

For the Susan Sontag of the mid-1960's, aestheticism was an ideal, but for the Sontag of the mid-1970's, aestheticism is suspect and subject to the question "What does it mean?" This is an absolute turn­ about and probably a traumatic one for her. Art for art's sake was all right until it started wearing chains and black leather, which appears to be a warm-up for the real thing. The Nazi Holocaust was truly the un­ thinkable in its scale. Massive nuclear destruction might be more total, but it would probably be the result of ineptitude rather than of calcu­ lated evil sustained by civilized institutions for a prolonged period of time. The Holocaust was an ultimate experience, the greatest challenge to the relativist position. The art of the Nazi era cannot be judged in purely aesthetic terms (although most of it would be easily so condem­ ned); the enormity of the crimes of that era demand that we evaluate the relationship of the arts to those crimes themselves. For Sontag, what was good for sixties is not good for the seventies. Movies like 'The Night Porter," books like SS REGALIA, and sado-masochistic sex were not popular (at least not out in the open) ten years ago. These new styles do mean something, if we can build on the imagery of Isherwood, and just might be a dress rehearsal for the real thing.

So we are once again being asked to think about what we enjoy. The liberal faith has been that fascism is avoidable in an informed and thinking society, and Sontag has used her position as a tastemaker to put us back on that track. However, the tone of her review is somewhat cru­ sading, almost as though we are teetering on the brink. The German atti­ tude toward de-Nazification since the war has been a kind of soft censor­ ship of things Nazi, and the danger of carrying the anti-relativist argu­ ment too far is the demand for censorship. Since a major civilized nation once bought the Nazi world view wholesale, we are right in being a bit nervGus when we see a new interest in fascist trappings here. The situa­ tion demands that artists and intellectuals not acquiesce (which Strauss found rather lucrative) or use the fascist technique of censorship; rather,

42 http://scholarworks.gvsu.edu/gvsc_review/vol2/iss1/11 10 Marks: The Cult of Beauty

rchetype of the hypocritical xist for its own sake and its rather, the situation demands a higher creative responsibility. Liberal work itself; in Riefenstahl's society holds a very delicate balance. The "cruel ladies" are a far cry 1nd terrifying propagandistic from the Storm Troopers, and the challenge to the open society is to :he Nazis; the purveying of guarantee through the merits of liberalism itself that the Troopers do not )ne is reminded of the scene come to power. To use censorship would seem to make the coming of 1)" where the owner of a the Troopers inevitable. : while customers peruse the scence.

1960's, aestheticism was an aestheticism is suspect and ?" This is an absolute turn­ !r. Art for art's sake was all k leather, which appears to Published by ScholarWorks@GVSU, 1975 11 -lolocaust was truly the un­ Jction might be more total, titude rather than of calcu- for a prolonged period of ence, the greatest challenge 3Zi era cannot be judged in Nould be easily so condem­ ·a demand that we evaluate 1emselves. For Sontag, what ties. Movies like "The Night a-masochistic sex were not ars ago. These new styles do gery of Isherwood, and just think about what we enjoy. oidable in an informed and ;ition as a tastemaker to put her review is somewhat cru­ the brink. The German atti­ ; been a kind of soft censor­ {ing the anti-relativist argu­ nce a major civilized nation we are right in being a bit t trappings here. The situa­ )t acquiesce (which Strauss nique of censorship; rather,

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