A hobgoblin is, in European folklore, a spirit of the hearth or fireside (the “hob”). Hobgoblins are considered meddlesome and mischievous beings.
In the universe of Marvel Comics, the Hobgoblin is one of Spiderman’s nemeses.
In his well-known 1841 essay “Self-Reliance,” the American transcendentalist philosopher Ralph Waldo Emerson stated that “A foolish consistency is the hobgoblin of little minds,” by which he meant that one should not conform to the fashion of the age, but should rather be original in all that one thinks and does from one day to the next.
The misquotation of Emerson’s maxim is the punchline of one of my favorite movies, Next Stop Wonderland.
In his 2013 biography of Wagner, Raymond Furness noted:
In fact, it was Wagner who, in 1846, first coined the term “absolute music.” He meant it in the most pejorative way possible, calling music that was disengaged from the meanings and energies of daily life, history, and the imagination “a hobgoblin in the brain of our aesthetic critics.” Indeed, according to Mark Evan Bonds, Wagner believed that
The notion of an artwork unconnected to the world around it . . . was quite literally inconceivable.
In other words, to Wagner, music could never be abstract, referring only to itself, existing in a realm untouched, unaffected, and unadulterated by any gesture or fact outside of itself.
In matters of absolute vs. program music, Wagner’s nemesis would be not The Hobgoblin, but Brahms.
But . . . is absolute music even possible?
What do you think?