Richard Wagner Quotes

Joy is not in things; it is in us

Wagner’s music is better than it sounds.

I can see Richard Wagner standing at the gates of heaven. "You have to let me in," he says. "I wrote Parsifal. It has to do with the Grail, Christ, suffering, pity and healing. Right?" And they answer, "Well, we read it and it makes no sense." SLAM.

Imagination creates reality.

Joy is not in things; it is in us.

Many's the man/ who thought himself wise/ but what he needed/ he did not know...

Never look at the trombones, it only encourages them.

One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion.

I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men; - I believe that he who once has bathed in the sublime delights of this high Art, is consecrate to Her for ever, and never can deny Her; - I believe that through Art all men are saved.

The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.

Parsifal is on his way to the temple of the Grail Knights and says: “I hardly move, yet far I seem to have come”, and the all-knowing Gurnemanz replies: “You see, my son, time turns here into space

I know of only one composer who measures up to Beethoven, and that is Bruckner.

The movies, I thought, have got the soundtrack to war all wrong. War isn't rock 'n' roll. It's got nothing to do with Jimi Hendrix or Richard Wagner. War is nursery rhymes and early Madonna tracks. War is the music from your childhood. Because war, when it's not making you kill or be killed, turns you into an infant. For the past eight days, I'd been living like a five-year-old — a nonexistence of daytime naps, mushy food, and lavatory breaks. My adult life was back in Los Angeles with my dirty dishes and credit card bills.

Bruckner he is my man!

The French idea of playing an instrument well is to be able to SING well upon it.

But then such a book as this is not meant to amuse.

Hegelianism’ was not the stuff that popular identities are made of. The master’s work was notoriously difficult to read, let alone understand. Richard Wagner and Otto von Bismarck were among those who attempted without success to make sense of him.

Der Gesang ist die in höchster Leidenschaft erregte Rede: die Musik ist die Sprache der Leidenschaft.

Alles ist nach seiner Art: an ihr wirst du nichts ändern

Only the Strong know Love; only Love can fathom Beauty; only Beauty can fashion Art.

To this group belong not only the genuinely great statesmen but all the great reformers as well. Beside Frederick the Great we have men such as Martin Luther and Richard Wagner.

At present, however, science, spurred on by its powerful delusion, is hurrying unstoppably to its limits, where the optimism hidden in the essence of logic will founder and break up. For there is an infinite number of points on the periphery of the circle of science, and while we have no way of foreseeing how the circle could ever be completed, a noble and gifted man inevitably encounters, before the mid-point of his existence, boundary points on the periphery like this, where he stares into that which cannot be illuminated. When, to his horror, he sees how logic curls up around itself at these limits and finally bites its own tail, then a new form of knowledge breaks through, tragic knowledge, which, simply to be endured, needs art for protection and as medicine.” Friedrich Nietzsche, “Foreword to Richard Wagner” in The Birth of Tragedy, ed. R. Geuss & R. Speirs, Cambridge, 2007, 163. (p.114)

When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in which the talent was cradled that explains; it is the training it received while it grew, the nurture it got from reading, study, example, the encouragement it gathered from self-recognition and recognition from the outside at each stage of its development: when we know all these details, then we know why the man was ready when his opportunity came.

I can't see the logic in medicating a grieving person like there was something wrong with her, and yet it happens all the time... you go to the doctor with symptoms of profound grief and they push an antidepressant at you. We need to walk through our grief, not medicate it and shove it under the carpet like it wasn't there.

Frisch weht der Wind Der Heimat zu Mein Irisch Kind, Wo weilest du?

Everybody feels oppressed during a Wagner performance. That is part of the appeal.

Unicamente los hombres fuertes conocen el amor, solamente el amor incluye la belleza, solamente la belleza produce el arte. El amor de los débiles entre sí no puede producir sino la satisfacción de sus apetencias lujuriosas.

Ist der Mensch, der nach dem Gott sich sehnt, nicht vernichtet?

In contrast to reincarnation and karma, all other views seem petty and narrow.

ΠΑΡΣΙΦΑΛ: «Μόλις και μετά βίας βαδίζω, κι όμως νιώθω πως ήδη έχω πάει πολύ μακριά!» ΓΚΟΥΡΝΕΜΑΝΤΣ: «Βλέπεις, γιε μου, σ’ αυτό εδώ το μέρος ο χρόνος γίνεται χώρος!» ("Zum Raum wird hier die Zeit")

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

Richard Wagner once declared that civilization disappears before music like mist before the sun. he never dreamed that one day, for its part, music would disappear before civilization, before democracy, like mist before the sun.

When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they contain.

...it was Buddhism that inspired the philosophy of Arthur Schopenhauer, and, through him, attracted Richard Wagner. This Orientalism reflected the struggle of the German Romantics, in the words of Léon Poliakov, to free themselves from Judeo-Christian fetters.

What was infinitely more valuable to Wagner, and what excited his gratitude to even more superlative utterance, was the confidence which Liszt showed in his genius, and without which, it is no exaggeration to say, Wagner’s greatest works would probably have remained unwritten.

He came from plebeian roots and had failed to distinguish himself in any way, not in war, not in work, not in art, though in this last domain he believed himself to have great talent. He was said to be indolent. He rose late, worked little, and surrounded himself with the lesser lights of the party with whom he felt most comfortable, an entourage of middlebrow souls that Putzi Hanfstaengl derisively nicknamed the “Chauffeureska,” consisting of bodyguards, adjutants, and a chauffeur. He loved movies—King Kong was a favorite—and he adored the music of Richard Wagner.

Parsifal é um daqueles artefatos culturais tortuosos dos quais você tem a sensação subjetiva de que aprendeu alguma coisa, alguma coisa valiosa ou até mesmo que não tem preço; mas, ao fazer um exame mais atento, você subitamente começa a coçar a cabeça e dizer: "Espere um minuto.Isto aqui não faz sentido", Posso até ver Richard Wagner às portas do paraíso. "Vocês precisam me deixar entrar", diz ele. "Eu escrevi Parsifal. Tem a ver com o Graal, Cristo, sofrimento, piedade e cura. Certo?". E eles respondem: "Bom, nós lemos a obra e ela não faz sentido". SLAM! Wagner tem razão e eles também. É outra armadilha de dedos chinesa.

Ein politischer Mann ist widerlich, ein politisches Weib aber grauenhaft […].

Winterstürme wichen dem Wonnemond, In mildem Lichte leuchtet der Lenz.

Erhebe dich, Genossin meiner Schmach! Der junge Tag darf hier uns nicht mehr sehn. Arise, companion of my shame! Daybreak must not find us here.

Science would not be what it is if there had not been a Galileo, a Newton or a Lavoisier, any more than music would be what it is if Bach, Beethoven and Wagner had never lived. The world as we know it is the product of its geniuses—and there may be evil as well as beneficent genius—and to deny that fact, is to stultify all history, whether it be that of the intellectual or the economic world.

He who thinks materialistically only knows that one can physically reach and assist another person. He has no notion that his inner feelings have significance for others, or that bonds, invisible to physical sight, link soul to soul. A mystic is well aware of these bonds. Richard Wagner was profoundly aware of their existence. To clarify what is meant by this, let us look at a significant legend from the Middle Ages that to modern humans is just a legend. However, its author, and anyone who recognizes its mystical meaning, is aware that this legend expresses a spiritual reality. The legend, which is part of an epic, tells us about Poor Henry who suffered from a dreadful illness. We are told that only if a pure maiden would sacrifice herself for him could he be cured of his terrible infliction. This indicates that the love, offered by a soul that is pure, can directly influence and do something concretely for another human life.

[...] he played me the Fourth Prelude and Fugue (C-sharp minor). Now, I knew what to expect from Liszt at the pianoforte; but from Bach himself, much as I had studied him, I never expected what I learnt that day. For then I saw the difference between study and revelation; through his rendering of this single fugue Liszt revealed the whole of Bach to me, so that I now know of a surety where I am with him, can take his every bearing from this point, and conquer all perplexity and every doubt by power of strong faith.

Es geht die alte Sage, dass König Midas lange Zeit nach dem weisen Silen, dem Begleiter des Dionysus, im Walde gejagt habe, ohne ihn zu fangen. Als er ihm endlich in die Hände gefallen ist, fragt der König, was für den Menschen das Allerbeste und Allervorzüglichste sei. Starr und unbeweglich schweigt der Dämon; bis er, durch den König gezwungen, endlich unter gellem Lachen in diese Worte ausbricht: `Elendes Eintagsgeschlecht, des Zufalls Kinder und der Mühsal, was zwingst du mich dir zu sagen, was nicht zu hören für dich das Erspriesslichste ist? Das Allerbeste ist für dich gänzlich unerreichbar: nicht geboren zu sein, nicht zu sein, nichts zu sein. Das Zweitbeste aber ist für dich - bald zu sterben. According to the old story, King Midas had long hunted wise Silenus, Dionysus' companion, without catching him. When Silenus had finally fallen into his clutches, the king asked him what was the best and most desirable thing of all for mankind. The daemon stood still, stiff and motionless, until at last, forced by the king, he gave a shrill laugh and spoke these words: 'Miserable, ephemeral race, children of hazard and hardship, why do you force me to say what it would be much more fruitful for you not to hear? The best of all things is something entirely outside your grasp: not to be born, not to be, to be nothing. But the second-best thing for you — is to die soon.

It is probably no exaggeration to say, as I have heard more than one follower of Hitler say, that Chamberlain was the spiritual founder of the Third Reich. This singular Englishman, who came to see in the Germans the master race, the hope of the future, worshiped Richard Wagner, one of whose daughters he eventually married; he venerated first Wilhelm II and finally Hitler and was the mentor of both. At the end of a fantastic life he could hail the Austrian corporal—and this long before Hitler came to power or had any prospect of it—as a being sent by God to lead the German people out of the wilderness. Hitler, not unnaturally, regarded Chamberlain as a prophet, as indeed he turned out to be.

Weh! Weh! Süssestes Weib! Du traurigste aller Getreuen! Gegen dich wütet in Waffen die Welt: und ich, dem du einzig vertraut, für den du ihr einzig getrotzt, mit meinem Schutz nicht soll ich dich schirmen, die Kühne verraten im Kampf? Ha, Schande ihm, der das Schwert mir schuf, beschied er mir Schimpf für Sieg! Muss ich denn fallen, nicht fahr' ich nach Walhall: Hella halte mich fest!

He came from plebeian roots and had failed to distinguish himself in any way, not in war, not in work, not in art, though in this last domain he believed himself to have great talent. He was said to be indolent. He rose late, worked little, and surrounded himself with the lesser lights of the party with whom he felt most comfortable, an entourage of middlebrow souls that Putzi Hanfstaengl derisively nicknamed the “Chauffeureska,” consisting of bodyguards, adjutants, and a chauffeur. He loved movies—King Kong was a favorite—and he adored the music of Richard Wagner. He dressed badly. Apart from his mustache and his eyes, the features of his face were indistinct and unimpressive, as if begun in clay but never fired. Recalling his first impression of Hitler, Hanfstaengl wrote, “Hitler looked like a suburban hairdresser on his day off.

We turn our eyes away from distance, we raise them in our home again, and there we see a prince whom his people loves, not in the mere sense of old-traditional allegiance to his family, no! of pure love for himself, for his ownest I. We love him because he is what he is, we love his pure virtue, his high sense of honour, his probity, his clemency. So from a full a heart I cry aloud in joy: - That is the man of Providence.

Who could look all his life long with an open mind and a free heart, at this world of murder and theft, organised and legalised through lying, deception, and hypocrisy, without having to turn away, shuddering in disgust? Whence then would one avert one’s gaze? All too often into the vale of death. To him, however, who is otherwise called and singled out by destiny, there appears the truest reflection of the world itself, as the foretold exhortation of redemption, despatched by its [the world’s] innermost soul.

The ordinary reader today knows about the Grail thanks only to Richard Wagner's Parsifal, which, in its Romantic approach, really deforms and twists the whole myth. Equally misleading is the attempt to interpret the mystery of the Grail in Christian terms: for Christian elements only play an accessory, secondary and concealing role in the saga. In order to grasp the true significance of the myth, it is necessary instead to consider the more immediate points of reference represented by the themes and echoes pertaining to the cycle of King Arthur, which survives in the Celtic and Nordic traditions. The Grail essentially embodies the source of a transcendent and immortalizing power of primordial origin that has been preserved after the 'Fall', degeneration and decadence of humanity. Significantly, all sources agree that the guardians of the Grail are not priests, but are knights and warriors - besides, the very place where the Grail is kept is described not as a temple or church, but as a royal palace or castle. In the book, I argued that the Grail can be seen to possess an initiatory (rather than vaguely mystical) character: that it embodies the mystery of warrior initiation. Most commonly, the sagas emphasize one additional element: the duties deriving from such initiation. The predestined Knight - he who has received the calling and has enjoyed a vision of the Grail, or received its boons – or he who has 'fought his way' to the Grail (as described in certain texts) must accomplish his duty of restoring legitimate power, lest he forever be damned. The Knight must either allow a prostrate, deceased, wounded or only apparently living King to regain his strength, or personally assume the regal role, thus restoring a fallen kingdom. The sagas usually attribute this function to the power of the Grail. A significant means to assess the dignity or intentions of the Knight is to 'ask the question': the question concerning the purpose of the Grail. In many cases, the posing of this crucial question coincides with the miracle of awakening, of healing or of restoration.

Everyone today who feels that he is a “good man” is completely incapable of taking a stand on any issue at all, other than with dishonest falseness — an abysmal falsity, which is, however, innocent falsity, true-hearted falsity, blue-eyed falsity, virtuous falsity. These “good people” — collectively they are now utterly and completely moralized and, so far as their honesty is concerned, they’ve been disgraced and ruined for all eternity. Who among them could endure even one truth “about human beings”! ... Or, to ask the question more precisely, who among them could bear a true biography! Here are a couple of indications: Lord Byron recorded some very personal things about himself, but Thomas Moore was “too good” for them. He burned his friend’s papers. The executor of Schopenhauer’s will, Dr. Gwinner, is alleged to have done the same thing, for Schopenhauer had also recorded some things about himself and also perhaps against himself (“eis auton” [against himself]). The capable American Thayer, the biographer of Beethoven, all of a sudden stopped his work: at some point or other in this venerable and naive life he could no longer continue ... Moral: What intelligent man nowadays would still write an honest word about himself? — He would already have to be a member of the Order of Holy Daredevils. We have been promised an autobiography of Richard Wagner. Who has any doubts that it will be a prudent autobiography?

Christ was an Aryan, and St. Paul used his doctrine to mobilise the criminal underworld and thus organise a proto-Bolshevism. This intrusion upon the world marks the end of a long reign, that of the clear Graeco-Latin genius. What is this God who takes pleasure only in seeing men grovel before Him? Try to picture to yourselves the meaning of the following, quite simple story. God creates the conditions for sin. Later on He succeeds, with the help of the Devil, in causing man to sin. Then He employs a virgin to bring into the world a son who, by His death, will redeem humanity! I can imagine people being enthusiastic about the paradise of Mahomet, but as for the insipid paradise of the Christians ! In your lifetime, you used to hear the music of Richard Wagner. After your death, it will be nothing but hallelujahs, the waving of palms, children of an age for the feeding-bottle, and hoary old men. The man of the isles pays homage to the forces of nature. But Christianity is an invention of sick brains : one could imagine nothing more senseless, nor any more indecent way of turning the idea of the Godhead into a mockery. A negro with his tabus is crushingly superior to the human being who seriously believes in Transubstantiation. I begin to lose all respect for humanity when I think that some people on our side, Ministers or generals, are capable of believing that we cannot triumph without the blessing of the Church. Such a notion is excusable in little children who have learnt nothing else. For thirty years the Germans tore each other to pieces simply in order to know whether or not they should take Communion in both kinds. There's nothing lower than religious notions like that. From that point of view, one can envy the Japanese. They have a religion which is very simple and brings them into contact with nature. They've succeeded even in taking Christianity and turning it into a religion that's less shocking to the intellect. By what would you have me replace the Christians' picture of the Beyond? What comes naturally to mankind is the sense of eternity and that sense is at the bottom of every man. The soul and the mind migrate, just as the body returns to nature. Thus life is eternally reborn from life. As for the "why?" of all that, I feel no need to rack my brains on the subject. The soul is unplumbable. If there is a God, at the same time as He gives man life He gives him intelligence. By regulating my life according to the understanding that is granted me, I may be mistaken, but I act in good faith. The concrete image of the Beyond that religion forces on me does not stand up to examination. Think of those who look down from on high upon what happens on earth: what a martyrdom for them, to see human beings indefatigably repeating the same gestures, and inevitably the same errors ! In my view, H. S. Chamberlain was mistaken in regarding Christianity as a reality upon the spiritual level. Man judges everything in relation to himself. What is bigger than himself is big, what is smaller is small. Only one thing is certain, that one is part of the spectacle. Everyone finds his own rôle. Joy exists for everybody. I dream of a state of affairs in which every man would know that he lives and dies for the preservation of the species. It's our duty to encourage that idea : let the man who distinguishes himself in the service of the species be thought worthy of the highest honours.

I see over and beyond all these national wars, new "empires," and whatever else lies in the foreground. What I am concerned with — for I see it preparing itself slowly and hesitatingly — is the United Europe. It was the only real work, the one impulse in the souls, of all the broad-minded and deep-thinking men of this century — this reparation of a new synthesis, and the tentative effort to anticipate the future of "the European." Only in their weaker moments, or when they grew old, did they fall back again into the national narrowness of the "Fatherlanders" — then they were once more "patriots." I am thinking of men like Napoleon, Heinrich Heine, Goethe, Beethoven, Stendhal, Schopenhauer. Perhaps Richard Wagner likewise belongs to their number, concerning whom, as a successful type of German obscurity, nothing can be said without some such "perhaps." But to the help of such minds as feel the need of a new unity there comes a great explanatory economic fact: the small States of Europe — I refer to all our present kingdoms and "empires" — will in a short time become economically untenable, owing to the mad, uncontrolled struggle for the possession of local and international trade. Money is even now compelling European nations to amalgamate into one Power. In order, however, that Europe may enter into the battle for the mastery of the world with good prospects of victory (it is easy to perceive against whom this battle will be waged), she must probably "come to an understanding" with England. The English colonies are needed for this struggle, just as much as modern Germany, to play her new role of broker and middleman, requires the colonial possessions of Holland. For no one any longer believes that England alone is strong enough to continue to act her old part for fifty years more; the impossibility of shutting out homines novi from the government will ruin her, and her continual change of political parties is a fatal obstacle to the carrying out of any tasks which require to be spread out over a long period of time. A man must to-day be a soldier first and foremost that he may not afterwards lose his credit as a merchant. Enough; here, as in other matters, the coming century will be found following in the footsteps of Napoleon — the first man, and the man of greatest initiative and advanced views, of modern times. For the tasks of the next century, the methods of popular representation and parliaments are the most inappropriate imaginable.

It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

Non tutti i matti corrono per le zone pedonali e recitano la Bibbia... Ci sono anche quelli che declamano Richard Wagner.

Rather, Caesar's proper and limited task is to bring a measure of order to present society, to anticipate in specific acts of judgment (putting-to-rights) such elements of God's final putting-to-rights as can be done within the present age.37 Part of our difficulty in today's world is that we are completely unclear about what it is that governments can do, and should try to do, and how they should go about finding a moral basis for doing it.

First, this faith does indeed become a virtue, in the Christian sense. The initial reaching out in grateful response, itself precipitated by the work of the Spirit and the preaching of the Word, is the start of a lifelong reaching out, a faithfulness that, like the initial faith, is the answer to God's faithfulness in Jesus Christ and in the word of the gospel. But this lifelong faithfulness, sharing as it does the nature and character of the initial faith by which one is justified, is not (again, as in some romantic or existentialist dreamings) a matter of giving expression to how one happens to be feeling at the time. (One of the evils of our age is first to say "I feel" when we mean "I think"; then to pass, subtly, to the point where actual feelings have taken the place of actual thought; then to pass beyond that again, to the point where "feeling" automatically trumps "thinking"; then to reach the point where thought has disappeared altogether, leaving us merely with Eliot's "undisciplined squads of emotion. "35 At that point, one of the nadirs of postmodernity, we have left behind both the classical and the Christian traditions, though tragically you can see exactly this sequence worked out in various would-be Christian contexts, not least Synods.) This lifelong faithfulness is a matter of practice. It means acquiring a habit: making a thousand small decisions to trust God now, in this matter, to believe in Jesus and his death and resurrection today, to be faithful and trustworthy to him here and now, in this situation ... and so coming, by slow steps and small degrees, to the point where faith, trust, belief, and faithfulness become, as we properly say in relation to virtue, "second nature" Not "first nature;' doing what comes naturally. No: second nature, doing from the heart that which the heart has learned by practice and hard work. Christian faith thus reaches out, by Spirit-inspired and eschatologically framed moral effort, toward the telos for which we were made, that we should be image-bearers of the faithful God. This means, in the terms I have posed in this paper, that faith is indeed one of the things we learn to do in the present time that truly anticipates the full life of the coming age. This is the sense, I think, in which lifelong Christian faith, though not different in kind or content from the faith by which one is justified (but only in temporal location, i.e., ongoing rather than initial), is indeed to be reckoned among the virtues.

Many discussions of virtue, and many discussions of faith, begin from where we presently are, as muddled, sinful, half-believing human beings, and explore the ways in which virtue (including "faith" in some sense) can help us move forward to become the people God wants and intends us to become. In this, as in many areas of theological exploration, I find it helpful to start instead from the far end, from the ultimate goal. I propose that we begin with the picture of what God intends us to be, and has promised that we shall be, and to work back from there to where we are. This is, I suppose, rather like the procedure adopted by some management consultants: to ask where the company ought to be twenty years from now, to imagine that we are already at that moment of presumed or anticipated success, and then to ask the question, How did we get here? What steps did we take on the way?

Aristotle spoke of the goal or end, the telos, of human moral behavior. We are on a journey toward that point, which he called EObaiµovia. That has normally been translated as "happiness"; but the meaning Aristotle had in mind was not the one that word often suggests in today's Western world (the feeling of contentment or pleasurable excitement) but the more organic one of becoming our full and true selves, discovering in practice the best and highest activity of which humans are capable.

We can become, in other words, people for whom the romantic or existentialist dream might eventually begin to come at least partially true. But this is not, or not for the most part, something straightforwardly and completely given in baptism and in initial Christian faith.

Thus, most obviously, the cardinal virtue of justice, giving to each person what is his or her due, is transformed into &y&rrq, giving to each not simply what is due but more besides, including "justice" itself (since &y&rrii will never wrong anyone, as Paul says elsewhere 13 ), but going beyond it into generosity, giving to each in the way God gives to each, that is, lavishly and without thought for cost.

Here "faith" and its cognates mean, more or less, faithfulness, loyalty, reliability, trustworthiness, and even, in consequence, something like our word "integrity": the quality of being so fully in tune, all through one's thinking and acting, that others know they are with someone on whom they can lean all their weight. (This is perhaps part of what Revelation means in calling Jesus the "faithful" witness.)23 More particularly, to put it anthropomorphically, someone of utter faithfulness is someone on whom God knows that he can lean all his weight.24 In this sense, of course, none of us (except Jesus himself) is fully trustworthy in the present life.

The gospel, as Paul knew, is folly to pagans. Trusting it would appear, not as a virtue, but as a vice. "Faith" of this Pauline sort can therefore come about only in response to the grace and revelation of the God of Abraham, the God who raised Jesus from the dead.

Such a dream would be the moral or even emotional equivalent of a poor person suddenly winning the lottery: without effort, suddenly all your problems are over! Just pray about it and there won't be any more moral battles! But virtue is not like that, and Christian moral living is not like that either. The romantic dream of an inner transformation that will make moral effort unnecessary is untrue both to the New Testament and to worldwide and millennia-long Christian experience.

And, once again, this contextualizing of Christian virtue within the redemptive eschatological framework underscores the great revolution in virtue ethics that took place from Paul onward, or as Paul would say, from the cross of Jesus Christ onward: the dethroning of pride and the enthroning of humility and gratitude.

The gift is the gift of the path to a richer, more responsible humanness; authenticity includes the choice to make an act of will despite desire, not simply bringing desire and will into line. To choose to believe, to choose to continue to believe, to choose to be faithful, loyal, and trustworthy, despite all the pressures to unbelief and disloyalty, is typical of the choices that constitute, or contribute toward, the life of Christian virtue.

37. On this point, and the whole paragraph, see especially Oliver O'Donovan, The Ways of Judgment (Grand Rapids: Eerdmans, 2005).

We live in a confused time, with democracy in apparent decline and with the church and Christian consciences increasingly at risk from governments, in various parts of the globe, that, having made a mess of almost everything else, decide to distract attention by stirring up anti-Christian sentiment and passing laws designed to make life difficult for those who want to be faithful followers of Jesus Christ. This is where faithfulness, loyalty, and trustworthiness will stand out, where that fourth meaning of rrionc is needed over against the shrinkage of "faith" to merely "my personal belief." The rhetoric of the Enlightenment has been extremely keen to squash "faith" into "private, personal belief," so that it can then insist that such "faith" should stay as a private matter and not leak out to infect the wider world. But since the Christian's personal belief is in the creator God who raised Jesus from the dead, this personal belief can never remain only a personal belief but, rooted in the trust that is the first meaning of rricrts, must grow at once into the loyalty, the public trustworthiness, that is the fourth meaning. This too is part of the virtue of "faith": to take the thousand small decisions to be loyal, even in public, even when it is dangerous or difficult, and so to acquire the habit of confessing this faith (sense 3) both when it is safe and when it is dangerous. Just as Mother Teresa spoke of recognizing Jesus in the Eucharist and then going out to recognize him in the poor and needy, so we need to learn the virtue of affirming our faith in our liturgical and prayer life so that we can then go out and affirm it on the street, in public debate, in pursuit of that freedom for which the second-century apologists argued. Christian faith, then, does indeed belong among the virtues. But we can only understand that in the light of the full biblical and eschatological narrative, in which God's eventual new creation, launched in Jesus' resurrection, will make all things new. Christian faith looks back to Jesus, and on to that eventual new day. It tastes in advance, in personal and public life, the freedom that we already have through Jesus and that one day we shall have in all its fullness. The practice of this "faith" is, on the one hand, the steady, grace-given entering into the habit by which our character is formed, a habit correlated with those resulting from the similar practice of hope and love. On the other hand, the practice of this faith is the genuine anticipation in the present of that trust, belief, and faithfulness that are part of the telos, the goal. That goal, already given in Jesus Christ, is the destination toward which we are now journeying in the power of the Spirit. Virtue is one of the things that happen in between, and because of, that gift and that goal.

Wagner thought Rossini unserious; Rossini thought Wagner 'lacked sun'. Wagner also became the butt of a phrase Rossini had used down the years to describe musicians about whom he had certain reservations - "He has some beautiful moments but some bad quarters of an hour!

Tiene mucha razón Schopenhauer cuando califica de ridículo el hablar de un político como de un genio, aunque se tratara de "un carácter histórico úncio". Opina incluso que una super-inteligencia es una desvantaja para un hombre de Estado, pues para hacer algo grande sólo se precisa de un carácter de características excepcionales.

I can see Richard Wagner standing at the gates of heaven. ‘You have to let me in,’ he says. ‘I wrote Parsifal. It has to do with the Grail, Christ, suffering, pity and healing. Right?

When any art has once made this discovery, it has but a short space of time to live.

Here, in perfect trustfulness, I plunged into the inner depths of soul-events and from the innermost center of the world I fearlessly built up to its outer form…. Life and death, the whole meaning and existence of the outer world, here hang on nothing but the inner movements of the soul

Wagner looked back to what in a primordial past had held people together in communities, a selflessness that had to be left behind so that human beings could become more and more conscious. He had an intuitive presentiment about the future; he felt that once individual freedom and independence had been attained, humans would have to find the way back to fellowship and caring relationships. Selflessness would have to be consciously regained, and loving kindness once more would have to become a prominent factor of life. For Wagner the present linked itself with the future, for he visualized as a distant ideal the existence of selflessness within the arts. Furthermore, he saw art as playing a significant role in evolution. Human development and that of art appeared to him to go hand in hand; both became egoistical when they ceased to function as a totality. As we see them today, drama, architecture and dance have gone their independent ways. As humanity grew more and more selfish, so did art. Wagner visualized a future when the arts would once more function in united partnership. Because he saw a commune of artists as a future ideal, he was referred to as 'the communist.' . . . In older works of art, where dance, rhythm and harmony still collaborated, he recognized something of the musical-dramatic element of the artistic works of antiquity. He acquired a unique sense for harmony, for tonality in music, but insisted that contributions from related arts were essential. Something from them must flow into the music. One such related art was dance, not as it has become, but the dance that once expressed movements in nature and movements of the stars. In ancient times, dance originated from a feeling for laws in nature. Man in his own movements copied those in nature. Rhythm of dance was reflected in the harmony of the music. Other arts, such as poetry, whose vehicle is words, also contributed, and what could not be expressed through words was contributed by related arts. Harmonious collaboration existed among dance, music and poetry. The musical element arose from the cooperation of harmony, rhythm and melody. This was what mystics and also Richard Wagner felt as the spirit of art in ancient times, when the various arts worked together in brotherly fashion, when melody, rhythm and harmony had not yet attained their later perfection. When they separated, dance became an art form in its own right, and poetry likewise. Consequently, rhythm became a separate experience, and poetry no longer added its contribution to the musical element. No longer was there collaboration between the arts. In tracing the arts up to modern times, Wagner noticed that the egoism in art increased as human beings egoism increased.

Ancient Norse texts spoke of three kingdoms of the dead: that of Ran, the sea goddess with the evocative name meaning "theft" or "pillage" about whom we know almost nothing;' that of Hel, goddess of the infernal regions; and that of Odin, Valhöll (Richard Wagner's Valhalla) in other words, "the Paradise of warriors.

J. S. Bach’s Cello Suites, the Aria from the Goldberg Variations and the ‘Erbarme Dich’ from his St Matthew Passion; Chopin’s Nocturnes; Messiaen’s Quatour pour la Fin de Temps; Górecki’s Third Symphony – composers have always nourished the interlacing of beauty and sadness. Lyrics only add more melancholy content: Richard Strauss’s ‘Morgen’ and the Vier Letzte Lieder; Tom Waits’ Closing Time and the songs of Rufus Wainwright; Elgar’s The Dream of Gerontius; the strains and pains of sex and death in Wagner’s

Um dia sem (Richard) Wagner é um dia desperdiçado.

establishing fixed racial hierarchies, such as the German composer Richard Wagner in Judaism in Music (1850) and the French diplomat Arthur de Gobineau in Essay on the Inequality of the Human Races (1853–1855).

The same picture can be seen even more starkly in classical music – the nineteenth century had Beethoven, Schubert, Schumann, Mendelssohn, Chopin, Debussy, Berlioz, Weber, Verdi, Wagner, Mahler, Brahms… the list just goes on and on. In the early twentieth century there were a few leftovers in Schoenberg, Stravinsky and Richard Strauss and then… nothing.

Wilhelm Richard Wagner is a composer who passed away in a Past Tense, while I have closed a neverending story door.

Gernot Wagner, a student and coauthor, notes the need to use judgment when assessing whether refraining from action reflects status quo bias. More generally, maxims describing human behavior apply in some contexts, but not others. “Status quo bias is a prime example. It is the friend of not acting, and you ignore it at your peril. But we also see ‘action bias.’ Often political leaders just want to be seen as doing something, anything – leading them to want to act, even if no action is the preferred choice.

I should have perished of despair in my youth but for the world created for me by that great German dynasty which began with Bach and will perhaps not end with Richard Strauss. Do not suppose for a moment that I learnt my art from English men of letters. True, they showed me how to handle English words; but if I had known no more than that, my works would never have crossed the Channel. My masters were the masters of a universal language: they were, to go from summit to summit, Bach, Handel, Haydn, Mozart, Beethoven and Wagner. Had the Germans understood any of these men, they would have hanged them. Fortunately they did not understand them, and therefore only neglected them until they were dead, after which they learnt to dance to their tunes with an easy conscience. For their sakes Germany stands consecrated as the Holy Land of the capitalist age, just as Italy, for its painters' sakes, is the Holy Land of the early unvulgarized Renascence; France, for its builders' sakes, of the age of Christian chivalry and faith; and Greece, for its sculptors' sakes, of the Periclean age.

Here,for the last time together,appeared a triumvirate of old men,relics of a golden age,who still towered like giants above creatures of a later time:Webster,the kind of senator that Richard Wagner might have created at the height of his powers;Calhoun,the most majestic champion of error since Milton's Satan in Paridise Lost;and Clay,the old Conciliator, who had already saved the union twice and now came out of retirement to save it with his silver voice and his master touch once again before he died.

Chocolate mousse is as much a part of our culture as Wagner. Some of us have to have mousse in very small doses but, for many, that is also true of Wagner.

For to him who feels the smart of pain, has Nature given the gift of tears

Then I Am Myself the World, taken from Tristan and Isolde by Richard Wagner. This