158:'s gospel of Universal Love. "The Greek ... could procreate Art for the very joy of manhood; the Christian, who impartially cast aside both Nature and himself; could only sacrifice to his God on the altar of renunciation; he durst not bring his actions or his work as offering, but believed that he must seek His favour by abstinence from all self-prompted venture." The worldly power of Christendom indeed "had its share in the revival of art" by patronage of artists celebrating its own supremacy. Moreover, "the security of riches awoke in the ruling classes the desire for more refined enjoyment of their wealth". Modern changes in society have resulted in the catastrophe that art has sold "her soul and body to a far worse mistress -
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weary day of toil, and go to the theatre: they ask for rest, distraction, and amusement, and are in no mood for renewed effort and fresh expenditure of force. This argument is so convincing, that we can only reply by saying: it would be more decorous to employ for this purpose any other thing in the wide world, but not the body and soul of Art. We shall then be told, however, that if we do not employ Art in this manner, it must perish from out our public life: i.e.,—that the artist will lose the means of living.
268:" As Wagner explains, "I believed in the Revolution, and in its unrestrainable necessity ... only, I also felt that I was called to point out to it the way of rescue. ... It is needless to recall the scorn which my presumption brought upon me ...". The essay, the first of a series of polemical blasts from Wagner in the years 1849 to 1852, which included "The Artwork of the Future" and "Jewishness in Music", indeed provided fuel to those who wished to characterize Wagner as an impractical and/or eccentric
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75:. "Art and Revolution" was one of a group of polemical articles he published in his exile. His enthusiasm for such writing at this stage of his career is in part explained by his inability, in exile, to have his operas produced. But it was also an opportunity for him to express and justify his deep-seated concerns about the true nature of opera as
282:, one of his few influential allies at the time, he wrote "I must make people afraid of me. Well, I have no money, but what I do have is an enormous desire to commit acts of artistic terrorism"; without denying the sincerity of Wagner's views at the time of writing, this article can be seen perhaps as one of those acts.
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Wagner continues by comparing many features of contemporary art and art practice to those of
Ancient Greece, always of course to the detriment of the former; some of this decay was due to the introduction in the ancient world of slave-labour, to which Wagner links contemporary wage labour; concluding
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There are even many of our most popular artists who do not in the least conceal the fact, that they have no other ambition than to satisfy this shallow audience. They are wise in their generation; for when the prince leaves a heavy dinner, the banker a fatiguing financial operation, the working man a
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Wagner notes that artists complain that economic uncertainty following the 1848 revolutions has damaged their prospects. But such materialistic complaints are selfish and unjustified. Those who practised art for art's sake "suffered also in the former times when others were rejoicing". He therefore
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The modern stage offers two irreconcilable genres, split from Wagner's Greek ideal - the play, which lacks "the idealising influence of music", and opera which is "forestalled of the living heart and lofty purpose of actual drama". Moreover, opera is enjoyed specifically because of its superficial
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This revolution consists for Wagner of a not very clearly defined return to Nature. Elements of this are a condemnation of the rich and "the mechanic's pride in the moral consciousness of his labour", not however to be confused with "the windy theories of our socialistic doctrinaires" who believe
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Only the great
Revolution of Mankind, whose beginnings erstwhile shattered Grecian Tragedy, can win for us this Art-work. For only this Revolution can bring forth from its hidden depths, in the new beauty of a nobler Universalism, that which it once tore from the conservative spirit of a time of
91:
of the period, which Wagner believed were a sell-out to commercialism in the arts. "Art and
Revolution" therefore explained his ideals in the context of the failure of the 1848 revolutions to bring about a society like that which Wagner conceived to have existed in
201:. Reconciling his two main inspirations, Wagner concludes "Let us therefore erect the altar of the future, in Life as in the living Art, to the two sublimest teachers of mankind:—Jesus, who suffered for all men; and Apollo, who raised them to their joyous dignity!"
228:", with the aim of redeeming society through art, in the event practicality superseded the naive ideas (and shallow historical interpretation) expressed in these essays. However, the concept of
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264:(1858–1865), feeling himself "in complete accord" with Carlyle's call in the aftermath of the "Spontaneous Combustion" of revolution and resulting "Millennium of Anarchies" to "
119:
The following summary is based on the standard translation of Wagner's prose works by
William Ashton Ellis, first published in 1895. Quotations are taken from this translation.
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as Wagner eventually forged it is undoubtedly rooted in the ideas he expressed at this time. Indeed, the essay is notable among other things for Wagner's first use of the term
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238:(total art work)—in this case referring to his view of Greek drama as combining music, dance and poetry, rather than his later application of the term to his own works.
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In 1872, by which time he was no longer an outcast, but had established himself as a leading artist, Wagner wrote a new introduction to the essay. He began by quoting
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that society might be reconstructed without overthrow. Wagner's goal is "the strong fair Man, to whom
Revolution shall give his Strength, and Art his Beauty!"
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Wagner had however been writing in part to deliberately provoke, on the basis that any notoriety was better than no notoriety. In a letter of June 1849 to
220:). Although Wagner at the time imagined his intended operas to constitute the "perfect Art-works" mentioned in this essay and described further in "
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this section by asserting that the Greeks had formed the perfect Art-work (i.e. Wagner's own conception of Greek drama), whose nature we have lost.
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170:. In a critique which lies at the heart of much of his writings at this period and thereafter, (and which is a clear dig at composers such as
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During and immediately after the
Russian Revolution of 1917, the ideas of Wagner's "Art and Revolution" were influential in the
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96:—truly dedicated to, and which could be morally sustained by, the arts—which for Wagner meant, supremely, his conception of
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Wagner's idealism of ancient Greece was common among his romantic intellectual circle (for example, his
Dresden friend the
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undertakes an examination of the role of art in society, commencing with a historical review starting in
Ancient Greece.
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This is not the original source of this translation, which remains unidentified; it is not Ellis.
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Wagner wrote the essay over two weeks in Paris and sent it to a French political journal, the
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abridge it, spend your heart's-blood upon abridging it, ye Heroic Wise that are to come!
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43:, originally published in 1849. It sets out some of his basic ideas about the role of
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71:, as a consequence of which he was forced to live for many years in exile from
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Well of course music these days is the slave of mammon and as a result
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146:, rather than art, dominated European society. Wagner portrays the
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32:" (original German title "Die Kunst und die Revolution") is a long
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Its aesthetic pretext is the entertainment of those who are bored
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Curt von
Westernhagen also detects in the essay the influence of
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Richard Wagner, translator and ed. S. Spencer and B. Millington
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beautiful but narrow-meted culture—and tearing it, engulphed.
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Wagner then berates those who simply dismiss these ideas as
24:, for his part in which Wagner was forced to live in exile
44:
607:. Berkeley: University of California Press – via
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includes a slightly-modified quotation from the essay:
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The song "The
Damnation Slumbereth Not" by the band
1578:
1019:Das Judenthum in der Musik (Jewishness in Music)
1462:List of films using the music of Richard Wagner
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1597:Works originally published in German magazines
1452:International Association of Wagner Societies
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321:Its moral purpose is the acquisition of money
79:at a time when he was beginning to write his
615:Richard Wagner, translator W. Ashton Ellis,
216:wrote to demonstrate the ideal qualities of
20:Plaque commemorating the 1849 revolution in
617:The Art-Work of the Future, and other works
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107:; they refused it, but it was published in
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67:and had been an active participant in the
569:Peter Burbidge and Richard Sutton (eds),
590:, vol. II (1848–1860), Cambridge, 1976.
501:The Half Man Half Biscuit Lyrics Project
15:
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619:, University of Nebraska Press, 1993.
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63:Wagner had been an enthusiast for the
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521:Notley, Margaret (27 November 1997).
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13:
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631:Selected Letters of Richard Wagner
452:Burbidge and Sutton (1979), p. 343
335:Ellis's English translation online
289:and on the ideas of those such as
154:as having hypocritically betrayed
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523:"Bruckner and Viennese Wagnerism"
317:It has become corrupt and shallow
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1128:Männerlist größer als Frauenlist
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251:which Wagner read in June 1849.
150:as brutal and sensuous, and the
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879:Die Meistersinger von NĂĽrnberg
604:Bolshevik Festivals, 1917–1920
497:"Thy Damnation Slumbereth Not"
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261:History of Frederick the Great
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1012:A Communication to My Friends
111:and ran to a second edition.
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319:Its real essence is industry
218:classical Greek architecture
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1262:Houston Stewart Chamberlain
1219:Bayreuth Festival Orchestra
679:List of works for the stage
601:von Geldern, James (1993).
10:
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936:Das Liebesmahl der Apostel
609:California Digital Library
588:The Life of Richard Wagner
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535:Cambridge University Press
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69:Dresden Revolution of 1849
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529:; Hawkshaw, Paul (eds.).
307:Cammell Laird Social Club
222:The Artwork of the Future
1592:Essays by Richard Wagner
1108:Die Laune des Verliebten
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287:proletarian art movement
130:spirit, embodied in the
1513:Wagner-Werk-Verzeichnis
1473:Nietzsche contra Wagner
1407:Richard Wagner Memorial
1402:Richard Wagner Monument
796:Der Ring des Nibelungen
744:Der fliegende Holländer
389:Wagner, 1993, pp. 40–41
205:Reception and influence
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461:Wagner 1993, p. 23–25
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302:Half Man Half Biscuit
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174:), Wagner complains:
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684:List of compositions
571:The Wagner Companion
353:Newman (1976) p. 121
304:on their 2002 album
1417:Wagner Ice Piedmont
1321:Cultural depictions
1312:Eva Wagner-Pasquier
1138:Wieland der Schmied
1040:Music of the Future
916:Symphony in C major
527:Jackson, Timothy L.
470:Wagner 1987, p. 171
443:Wagner, 1993, p. 64
434:Wagner, 1993, p. 56
425:Wagner, 1993, p. 53
416:Wagner, 1993, p. 44
407:Wagner, 1993, p. 43
398:Wagner, 1993, p. 41
380:Wagner, 1993, p. 38
371:Wagner, 1993, p. 33
362:Wagner, 1993, p. 31
65:revolutions of 1848
1497:Der Ring in Minden
1439:The Case of Wagner
1198:Bayreuther Blätter
991:Art and Revolution
910:Non-operatic music
867:Tristan und Isolde
295:Proletcult Theatre
293:, the theorist of
291:Platon Kerzhentsev
51:and the nature of
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248:What is Property?
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564:Sources
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115:Summary
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1556:Audio
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341:Notes
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