Haydnistic strains of the orchestra, falls with a mournful sweetness on our ears.
We ourselves saw the play yesterday, and we are now discussing it. I am explaining to B. the difficulty I experience in writing an account of it for my diary. I tell him that I really do not know what to say about it.
He smokes for a while in silence, and then, taking the pipe from his lips, he says:
"Does it matter very much what you say about it?"
I find much relief in that thought. It at once lifts from my shoulders the oppressive feeling of responsibility that was weighing me down. After all, what does it matter what I say? What does it matter what any of us says about anything? Nobody takes much notice of it, luckily for everybody. This reflection must be of great comfort to editors and critics. A conscientious man who really felt that his words would carry weight and influence with them would be almost afraid to speak at all. It is the man who knows that it will not make an ounce of difference to anyone what he says, that can grow eloquent and vehement and positive. It will not make any difference to anybody or anything what I say about the Ober-Ammergau Passion Play. So I shall just say what I want to.
But what do I want to say? What can I say that has not been said, and said much better, already? (An author must always pretend to think that every other author writes better than he himself does. He does not really think so, you know, but it looks well to talk as though he did.) What can I say that the reader does not know, or that, not knowing, he cares to know? It is easy enough to talk about nothing, like I have been doing in this diary hitherto. It is when one is confronted with the task of
