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Old 29th May 2006
  #1
Lives for gear
 
max cooper's Avatar
 
🎧 15 years
Quoting

Don't you think it's funny when there's a really long post and the next person quotes the entire thing and includes a one or two line response?

Sometimes the long post will be quoted in it's entirety multiple times in a thread.

I'm sure I've done it, but it still looks funny to me.
Old 29th May 2006
  #2
Lives for gear
 
theblotted's Avatar
 
🎧 15 years
it does look funny, but more annoying to me! at least have the curtesy of trimming the fat and just leave the pertaining msg...

or if they're pertaining to the entire post, chop it down to the last sentence would help.. so we don't have to scroll like crazy.

i hate it when there's a huge post, and all the next poster writes is "LOL" or heh or something ridiculously short.

ok, done.
Old 29th May 2006 | Show parent
  #3
Gear Addict
 
🎧 15 years
Once I'm over the 100 post mark - then and only then will I have the nerve to bitch.

Ahhhh - another one down ;0)
Old 29th May 2006
  #4
500 series nutjob
 
pan60's Avatar
 
🎧 15 years
Quote:
Originally Posted by max cooper
I've done the entire line multiple times and it's Sometimes really long
trim and pull, so the quotes can be taken out of context.
this allows one to get the meaning desired! heh
Old 29th May 2006 | Show parent
  #5
Lives for gear
 
Jose Mrochek's Avatar
 
🎧 15 years
Quote:
Originally Posted by pan60
trim and pull, so the quotes can be taken out of context.
this allows one to get the meaning desired! heh
9 out of 10 quotes are taken out of context. thatΒ΄s the beauty of quoting : )
Old 29th May 2006
  #6
Gear Guru
 
🎧 15 years
Quote:
Originally Posted by max cooper
Don't you think it's funny when there's a really long post and the next person quotes the entire thing and includes a one or two line response?

Sometimes the long post will be quoted in it's entirety multiple times in a thread.

I'm sure I've done it, but it still looks funny to me.
yeah
Old 29th May 2006 | Show parent
  #7
Gear Guru
 
🎧 15 years
actually its better here than on some other forum software. Here at least the quote level only goes one deep.

On REP for example you can quote someone and reply and then someone else can quote both the original quote and your reply and then someone can quote all that...

tutt
Old 29th May 2006 | Show parent
  #8
Lives for gear
 
max cooper's Avatar
 
🎧 15 years
Quote:
Originally Posted by joeq
yeah
I can't believe it took more than one post for someone to do this.
Old 29th May 2006 | Show parent
  #9
Lives for gear
 
max cooper's Avatar
 
🎧 15 years
What's really nice is when someone posts a couple of big pictures and the next person posts the same pictures. Yeah!
Old 29th May 2006 | Show parent
  #10
Lives for gear
 
ArcCirDude's Avatar
 
🎧 15 years
Quote:
Originally Posted by DickWag
JUDAISM IN MUSIC

DAS JUDENTHUM IN DER MUSIK

by Richard Wagner

Translated by William Ashton Ellis

Taken from The Theatre, Richard Wagner's Prose Works, Volume 3, pages 79-100, published in 1894. Essay originally published in 1850 in SΓ€mtliche Schriften und Dichtungen: Volume V, pages 66-85.

[01] IN THE 'NEUE ZEITSCHRIFT FΓΌR MUSIK' not long ago, mention was made of an "Hebraic art-taste": an attack and a defence of that expression neither did, nor could, stay lacking. Now it seems to myself not unimportant, to clear up the matter lying at bottom of all this β€” a matter either glossed over by our critics hitherto, or touched with a certain outburst of excitement. [02] It will not be a question, however, of saying something new, but of explaining that unconscious feeling which proclaims itself among the people as a rooted dislike of the Jewish nature; thus, of speaking out a something really existent, and by no means of attempting to artfully breathe life into an unreality through the force of any sort of fancy. Criticism goes against its very essence, if, in attack or defence, it tries for anything else.

Since it here is merely in respect of Art, and specially of Music, that we want to explain to ourselves the popular dislike of the Jewish nature, even at the present day, we may completely pass over any dealing with this same phenomenon in the field of Religion and Politics. In Religion the Jews have long ceased to be our hated foes, β€” thanks to all those who within the Christian religion itself have drawn upon themselves the people's hatred. [03] In pure Politics we have never come to actual conflict with the Jews; we have even granted them the erection of a Jerusalemitic realm, and in this respect we have rather had to regret that Herr v. Rothschild was too keen-witted to make himself King of the Jews, preferring, as is well known, to remain "the Jew of the Kings." It is another matter, where politics become a question of Society: here the isolation of the Jews has been held by us a challenge to the exercise of human justice, for just so long as in ourselves the thrust toward social liberation has woken into plainer consciousness. When we strove for emancipation of the Jews, however, we virtually were more the champions of an abstract principle, than of a concrete case: just as all our Liberalism was a not very lucid mental sport [04] β€” since we went for freedom of the Folk without knowledge of that Folk itself, nay, with a dislike of any genuine contact with it β€” so our eagerness to level up the rights of Jews was far rather stimulated by a general idea, than by any real sympathy; for, with all our speaking and writing in favour of the Jews' emancipation, we always felt instinctively repelled by any actual, operative contact with them.

Here, then, we touch the point that brings us closer to our main inquiry: we have to explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews, so as to vindicate that instinctive dislike which we plainly recognise as stronger and more overpowering than our conscious zeal to rid ourselves thereof. Even to-day we only purposely belie ourselves, in this regard, when we think necessary to hold immoral and taboo all open proclamation of our natural repugnance against the Jewish nature. Only in quite the latest times do we seem to have reached an insight, that it is more rational (vernΓΌnftiger) to rid ourselves of that strenuous self-deception, [05] so as quite soberly instead to view the object of our violent sympathy and bring ourselves to understand a repugnance still abiding with us in spite of all our Liberal bedazzlements. [06] To our astonishment, we perceive that in our Liberal battles [07] we have been floating in the air and fighting clouds, whereas the whole fair soil of material reality has found an appropriator whom our aerial flights have very much amused, no doubt, yet who holds us far too foolish to reward us by relaxing one iota of his usurpation of that material soil. Quite imperceptibly the "Creditor of Kings" has become the King of Creeds, and we really cannot take this monarch's pleading for emancipation as otherwise than uncommonly naive, seeing that it is much rather we who are shifted into the necessity of fighting for emancipation from the Jews. According to the present constitution of this world, the Jew in truth is already more than emancipate: he rules, and will rule, so long as Money remains the power before which all our doings and our dealings lose their force. That the historical adversity [08] of the Jews and the rapacious rawness of Christian-German potentates have brought this power within the hands of Israel's sons β€” this needs no argument of ours to prove. That the impossibility of carrying farther any natural, any 'necessary' and truly beauteous thing, upon the basis of that stage whereat the evolution of our arts has now arrived, and without a total alteration of that basis β€” that this has also brought the public Art-taste of our time between the busy fingers of the Jew, however, is the matter whose grounds we here have to consider somewhat closer. What their thralls had toiled and moiled to pay the liege-lords of the Roman and the Medieval world, to-day is turned to money by the Jew: who thinks of noticing that the guileless-looking scrap of paper is slimy with the blood of countless generations? What the heroes of the arts, with untold strain consuming lief and life, have wrested from the art-fiend of two millennia of misery, to-day the Jew converts into an art-bazaar (Kunstwaarenwechsel): who sees it in the mannered bricabrac, that it is glued together by the hallowed brow-sweat of the Genius of two thousand years?

We have no need to first substantiate the be-Jewing of modern art; it springs to the eye, and thrusts upon the senses, of itself. Much too far afield, again, should we have to fare, did we undertake to explain this phenomenon by a demonstration of the character of our art-history itself. But if emancipation from the yoke of Judaism appears to us the greatest of necessities, we must hold it weighty above all to prove our forces for this war of liberation. Now we shall never win these forces from an abstract definition of that phenomenon per se, but only from an accurate acquaintance with the nature of that involuntary feeling of ours which utters itself as an instinctive repugnance against the Jew's prime essence. Through it, through this unconquerable feeling β€” if we avow it quite without ado β€” must there become plain to us what we hate in that essence; what we then know definitely, we can make head against; nay, through his very laying bare, may we even hope to rout the demon from the field, whereon he has only been able to maintain his stand beneath the shelter of a twilight darkness β€” a darkness we good-natured Humanists ourselves have cast upon him, to make his look less loathly.

The Jew β€” who, as everyone knows, has a God all to himself β€” in ordinary life strikes us primarily by his outward appearance, which, no matter to what European nationality we belong, has something disagreeably [09] foreign to that nationality: instinctively we wish to have nothing in common with a man who looks like that. This must heretofore have passed as a misfortune for the Jew: in more recent times, however, we perceive that in the midst of this misfortune he feels entirely well; after all his successes, he needs must deem his difference from us a pure distinction. Passing over the moral side, in the effect of this in itself unpleasant freak of Nature, and coming to its bearings upon Art, we here will merely observe that to us this exterior can never be thinkable as a subject for the art of re-presentment.: if plastic art wants to present us with a Jew, it mostly takes its model from sheer phantasy, with a prudent ennobling, or entire omission, of just everything that characterises for us in common life the Jew's appearance. But the Jew never wanders on to the theatric boards: the exceptions are so rare and special, that they only confirm the general rule. We can conceive no representation of an antique or modern stage-character by a Jew, be it as hero or lover, without feeling instinctively the incongruity of such a notion. [10] This is of great weight: a man whose appearance we must hold unfitted for artistic treatment β€” not merely in this or that personality, but according to his kind in general β€” neither can we hold him capable of any sort of artistic utterance of his [11] [inner] essence.

By far more weighty, nay, of quite decisive weight for our inquiry, is the effect the Jew produces on us through his speech; and this is the essential point at which to sound the Jewish influence upon Music. [12] β€” The Jew speaks the language of the nation in whose midst he dwells from generation to generation, but he speaks it always as an alien. As it lies beyond our present scope to occupy ourselves with the cause of this phenomenon, too, we may equally abstain from an arraignment of Christian Civilisation for having kept the Jew in violent severance from it, as on the other hand, in touching the sequelae of that severance we can scarcely propose to make the Jews the answerable party. [13] Our only object, here, is to throw light on the aesthetic character of the said results. β€” In the first place, then, the general circumstance that the Jew talks the modern European languages merely as learnt, and not as mother tongues, must necessarily debar him from all capability of therein expressing himself idiomatically, independently, and conformably to his nature. [14] A language, with its expression and its evolution, is not the work of scattered units, but of an historical community: only he who has unconsciously grown up within the bond of this community, takes also any share in its creations. But the Jew has stood outside the pale of any such community, stood solitarily with his Jehovah in a splintered, soilless stock, to which all self-sprung evolution must stay denied, just as even the peculiar (Hebraic) language of that stock has been preserved for him merely as a thing defunct. Now, to make poetry in a foreign tongue has hitherto been impossible, even to geniuses of highest rank. Our whole European art and civihisation, however, have remained to the Jew a foreign tongue; for, just as he has taken no part in the evolution of the one, so has he taken none in that of the other; but at most the homeless wight has been a cold, nay more, a hostile looker-on. In this Speech, this Art, the Jew can only after-speak and after-patch β€” not truly make a poem of his words, an artwork of his doings.

In particular does the purely physical aspect of the Jewish mode of speech repel us. Throughout an intercourse of two millennia with European nations, Culture has not succeeded in breaking the remarkable stubbornness of the Jewish naturel as regards the peculiarities of Semitic pronunciation. The first thing that strikes our ear as quite outlandish and unpleasant, in the Jew's production of the voice-sounds, is a creaking, squeaking, buzzing snuffle [15] : add thereto an employment of words in a sense quite foreign to our nation's tongue, and an arbitrary twisting of the structure of our phrases β€” and this mode of speaking acquires at once the character of an intolerably jumbled blabber (eines unertraglich verwirrten Geplappers); so that when we hear this Jewish talk, our attention dwells involuntarily on its repulsive how, rather than on any meaning of its intrinsic what. How exceptionally weighty is this circumstance, particularly for explaining the impression made on us by the music-works of modern Jews, must be recognised and borne in mind before all else. If we hear a Jew speak, we are unconsciously offended by the entire want of purely-human expression in his discourse: the cold indifference of its peculiar "blubber" ("Gelabber") never by any chance rises to the ardour of a higher, heartfelt passion. If, on the other hand, we find ourselves driven to this more heated expression, in converse with a Jew, he will always shuffle off, since he is incapable of replying in kind. Never does the Jew excite himself in mutual interchange of feelings with us, but β€” so far as we are concerned β€” only in the altogether special egoistic interest of his vanity or profit; a thing which, coupled with the wry expression of his daily mode of speech, always gives to such excitement a tinge of the ridiculous, and may rouse anything you please in us, only not sympathy with the interests of the speaker. Though we well may deem it thinkable that in intercourse with one another, and particularly where domestic life brings purely-human feelings to an outburst, even the Jews may be able to give expression to their emotions in a manner effective enough among themselves: yet this cannot come within our present purview, since we here are listening to the Jew who, in the intercourse of life and art, expressly speaks to us.

Now, if the aforesaid qualities of his dialect make the Jew almost [16] incapable of giving artistic enunciation to his feelings and beholdings through talk, for such an enunciation through song his aptitude must needs be infinitely smaller. Song is just Talk aroused to highest passion: Music is the speech of Passion. All that worked repellently upon us in his outward appearance and his speech, makes us take to our heels at last in his Song, providing we are not held prisoners by the very ridicule of this phenomenon. Very naturally, in Song β€” the vividest and most indisputable expression of the personal emotional-being β€” the peculiarity of the Jewish nature attains for us its climax of distastefulness; and on any natural hypothesis, we might hold the Jew adapted for every sphere of art, excepting that whose basis lies in Song.

The Jews' sense of Beholding has never been of such a kind as to let plastic artists arise among them: from ever have their eyes been busied with far more practical affairs, than beauty and the spiritual substance of the world of forms. We know nothing of a Jewish architect or sculptor in our times, [17] so far as I am aware: whether recent painters of Jewish descent have really created (wirklich geschaffen haben) in their art, I must leave to connoisseurs to judge; presumably, however, these artists occupy no other standing toward their art, than that of modern Jewish composers toward Music β€” to whose plainer investigation we now will turn.

The Jew, who is innately incapable of enouncing himself to us artistically through either his outward appearance or his speech, and least of all through his singing. has nevertheless been able in the widest-spread of modern art-varieties, to wit in Music, to reach the rulership of public taste. β€” To explain to ourselves this phenomenon, let us first consider how it grew possible to the Jew to become a musician.

From that turning-point in our social evolution where Money, with less and less disguise, was raised to the virtual patent of nobility, the Jews β€” to whom money-making without actual labour, i.e. Usury, had been left as their only trade β€” the Jews not merely could no longer be denied the diploma of a new society that needed naught but gold, but they brought it with them in their pockets. Wherefore our modern Culture, accessible to no one but the well-to-do, remained the less a closed book to them, as it had sunk into a venal article of Luxury. Henceforward, then, the cultured Jew appears in our Society; his distinction from the uncultured, the common Jew, we now have closely to observe. The cultured Jew has taken the most indicible pains to strip off all the obvious tokens of his lower co-religionists: in many a case he has even held it wise to make a Christian baptism wash away the traces of his origin. This zeal, however, has never got so far as to let him reap the hoped-for fruits: it has conducted only to his utter isolation, and to making him the most heartless of all human beings; to such a pitch, that we have been bound to lose even our earlier sympathy for the tragic history of his stock. His connexion with the former comrades in his suffering, which he arrogantly tore asunder, it has stayed impossible for him to replace by a new connexion with that society whereto he has soared up. He stands in correlation with none but those who need his money: and never yet has money thriven to the point of knitting a goodly bond 'twixt man and man. Alien and apathetic stands the educated Jew in midst of a society he does not understand, with whose tastes and aspirations he does not sympathise, whose history and evolution have always been indifferent to him. In such a situation have we seen the Jews give birth to Thinkers: the Thinker is the backward-looking poet; but the true Poet is the foretelling Prophet. For such a prophet-charge can naught equip, save the deepest, the most heartfelt sympathy with a great, a like-endeavouring Community β€” to whose unconscious thoughts the Poet gives exponent voice. Completely shut from this community, by the very nature of his situation; entirely torn from all connexion with his native stock β€” to the genteeler Jew his learnt and payed-for culture could only seem a luxury, since at bottom he knew not what to be about with it.

Now, our modern arts had likewise become a portion of this culture, and among them more particularly that art which is just the very easiest to learn β€” the art of music, and indeed that Music which, severed from her sister arts, had been lifted by the force and stress of grandest geniuses to a stage in her universal faculty of Expression where either, in new conjunction with the other arts, she might speak aloud the most sublime, or, in persistent separation from them, she could also speak at will the deepest bathos of the trivial. Naturally, what the cultured Jew had to speak, in his aforesaid situation, could be nothing but the trivial and indifferent, because his whole artistic bent was in sooth a mere luxurious, needless thing. Exactly as his whim inspired, or some interest lying outside Art, could he utter himself now thus, and now otherwise; for never was he driven to speak out a definite, a real and necessary thing, but he just merely wanted to speak, no matter what [18] ; so that, naturally, the how was the only 'moment' left for him to care for. At present no art affords such plenteous possibility of talking in it without saying any real thing, as that of Music, since the greatest geniuses have already said whatever there was to say in it as an absolute separate-art. [19] When this had once been spoken out, there was nothing left but to babble after; and indeed with quite distressing accuracy and deceptive likeness, just as parrots reel off human words and phrases, but also with just as little real feeling and expression as these foolish birds. Only, in the case of our Jewish music-makers this mimicked speech presents one marked peculiarity β€” that of the Jewish style of talk in general, which we have more minutely characterised above.

No...no sir....I don't like it one bit.
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