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Religion and art

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"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, reflecting his belief that he lived in an age of spiritual crisis. He expressed concern over the art-of-war's shift from moral force to mechanical means, driven by advancements in technology. In response, Wagner embraced the role of the Tone Poet Seer, using music to reveal the inexpressible and cleanse souls through symphonic experiences. This essay serves as the centerpiece of the collected works, which also include defining essays like "Public and Popularity," "The Public in Time and Space," and his papers on the Bayreuth School. Additionally, his complaint against publishers, "On Poetry and Composition" (1879), and his reflections on the first production of Parsifal (1882) highlight his commitment to uplifting the spirit through music. These writings also engage in the intellectual conflict with Nietzsche, who criticized Wagner as an incurable romantic. Wagner's responses are marked by sharp innuendo and sarcasm. This edition features the complete volume 6 from the 1897 translation of Wagner's works by the London Wagner Society, translated by William Ashton Ellis, a significant figure in nineteenth-century musicology, who passed away in 1919.

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Religion and art, Richard Wagner

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1994
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