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Religion and art / by Richard Wagner ; translated by William Ashton Ellis.

By: Contributor(s): Language: English Original language: German Series: Richard Wagner's prose works ; v.6.Publisher: Lincoln ; London : University of Nebraska Press, 1994Description: xxxii, 376 pages ; 20 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0803297645
  • 9780803297647
Uniform titles:
  • Literary works. Selections. English
Subject(s): Genre/Form: DDC classification:
  • 780/.1 20
LOC classification:
  • ML410.W1 A1273 1994
Other classification:
  • 780
Contents:
Spohr's "Jessonda" at Leipzig -- Minor Bayreuth papers. To the presidents of Wagner-Vereins ; Proposed Bayreuth "school" ; Introduction to the first number of the Bayreuther Blätter ; Introduction to a work of Hans von Wolzogen's ; Postponement of "Parsifal" ; Introduction to the year 1880 ; Announcement of "Parsifal" performances ; Introduction to a work of Count Gobineau's -- Modern -- Public and popularity -- The public in time and space -- Retrospect of the stage-festivals of 1876 -- Shall we hope? -- On poetry and composition -- On operatic poetry and composition -- On the application of music to the drama -- Against vivisection -- Religion and art. "What boots this knowledge?" ; "Know thyself" ; Hero-dom and Christendom -- End of the Patronat-verein -- The stipendiary fund -- "Parsifal" at Bayreuth -- A youthful symphony --- Letter to H. von Stein -- The human womanly (fragment).
Summary: "One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, and turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symphonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm.
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Item type Current library Call number Status Date due Barcode
Books Academic Resource Center at Levitt General Stacks (LOWER Level) ML 410 .W1 A1273 1994 (Browse shelf(Opens below)) Available 18244

Includes index.

Includes bibliographical references and index.

Spohr's "Jessonda" at Leipzig -- Minor Bayreuth papers. To the presidents of Wagner-Vereins ; Proposed Bayreuth "school" ; Introduction to the first number of the Bayreuther Blätter ; Introduction to a work of Hans von Wolzogen's ; Postponement of "Parsifal" ; Introduction to the year 1880 ; Announcement of "Parsifal" performances ; Introduction to a work of Count Gobineau's -- Modern -- Public and popularity -- The public in time and space -- Retrospect of the stage-festivals of 1876 -- Shall we hope? -- On poetry and composition -- On operatic poetry and composition -- On the application of music to the drama -- Against vivisection -- Religion and art. "What boots this knowledge?" ; "Know thyself" ; Hero-dom and Christendom -- End of the Patronat-verein -- The stipendiary fund -- "Parsifal" at Bayreuth -- A youthful symphony --- Letter to H. von Stein -- The human womanly (fragment).

"One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, and turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symphonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm.

Originally published: Richard Wagner's prose works. Volume VI, Religion and art. London : Kegan Paul, Trench, Trübner, 1897.

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