Figure 29.I

Richard Wagner in seinem Helm Wahnfried (Richard Wagner in his home, Wahnfried); l. to r: Casima and Richard Wagner, Franz Liszt, Hans von Wolgogen. Wood engraving; C. 1890, after painting, 1880, by Welhelm Beckmann (1852-1942)

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Dinesh ^club

. . . .it would be quite instructive to quote here Nietzsche’s confession in the “Preface” to his 1888 composition: “The Case of Wagner”

“What does a philosopher demand of himself first and last? To overcome his time in himself, to become “timeless”. . . Well, then, I am not less than Wagner, a child of his time; that is, a decadent [and Nietzsche thinks here also of anti-Semitic sentiments0, but I comprehend this, I resist it. The philosopher is me resisted.”

Anyone with even a passing knowledge of Wagner’s work will know his operas (or music dramas, as he called them) composed after reading Schopenhauer bear the mark of the philosopher’s thought. Wagner’s debt in this respect was vividly memoralized by the painter Wilhelm Beckmann with a scene from inside Wagner’s Bayreuth home: the composer stands, facing his piano, a portrait of Schopenhauer hangs overhead (Figure 29.I). Far more rarely have we acknowledged that Wagner’s engagement with Schopenhauer’s work, which was nearly constant between 1854 and his death in 1883, was hardly that of an uncritical follower.

In fact, every one of his music dramas nearly conceived his discovery of Schopenhauer’s -- ‘Tristan und Isolde, Die Meistersinger von Nurumberg,’ and ‘Parasifal’ -- reveals the composer to have been highly original and deeply creative interpreter of the philosopher’s theses. . . . . PAGE 518

2 years ago. Edited 2 years ago.

Dinesh ^club

www.the-wagnerian.com/2014/01/the-use-of-buddhist-and-hindu-concepts.html

2 years ago.

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Figure 29.I

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