What "Conservatives," "Liberals" and "Conservative-liberals," and finally "Democrats," "Socialists," or even "Social-democrats" etc., have lately uttered on the Jewish Question, must seem to us a trifle foolish; for none of these parties would think of testing that "Know thyself" upon themselves, not even the most indefinite and therefore the only one that styles itself in German, the "Progress"-party. There we see nothing but a clash of interests, whose object is common to all the disputants, common and ignoble: plainly the side most strongly organised, i.e. the most unscrupulous, will bear away the prize. With all our comprehensive State- and National-Economy, it would seem that we are victims to a dream now flattering, now terrifying, and finally asphyxiating: all are panting to awake therefrom; but it is the dream's peculiarity that, so long as it enmeshes us, we take it for real life, and fight against our wakening as though we fought with death. At last one crowning horror gives the tortured wretch the needful strength: he wakes, and what he held most real was but a figment of the dæmon of distraught mankind. We who belong to none of all those parties, but seek our welfare solely in man's wakening to his simple hallowed dignity; we who are excluded from these parties as useless persons, and yet are sympathetically troubled for them, — we can only stand and watch the spasms of the dreamer, since no cry of ours can pierce to him. So let us save and tend and brace our best of forces, to bear a noble cordial to the sleeper when he wakes, as of himself he must at last.
German composer (1813–1883)
Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama.
From: Wikiquote (CC BY-SA 4.0)
Pen Names:
K. Freigedank
•
H. Valentino
Alternative Names:
Wilhelm Richard Wagner
•
Wagner
From Wikidata (CC0)
Showing quotes in randomized order to avoid selection bias. Click Popular for most popular quotes.
Germany appeared in my eyes a very tiny portion of the earth. I had emerged from abstract Mysticism, and I learnt a love for Matter. Beauty of material and brilliancy of wit were lordly things to me: as regards my beloved music, I found them both among the Frenchmen and Italians. I forswore my model, Beethoven; his last Symphony I deemed the keystone of a whole great epoch of art, beyond whose limits no man could hope to press, and within which no man could attain to independence.
I had translated the first twelve books of the Odyssey. For a while I learnt English also, merely so as to gain an accurate knowledge of Shakespeare; and I made a metrical translation of Romeo's monologue. Though I soon left English on one side, yet Shakespeare remained my exemplar, and I projected a great tragedy which was almost nothing but a medley of Hamlet and King Lear. The plan was gigantic in the extreme; two- and-forty human beings died in the course of this piece, and I saw myself compelled, in its working-out, to call the greater number back as ghosts, since otherwise I should have been short of characters for my last Acts. This play occupied my leisure for two whole years.
You, who enjoy the breezes and love, laugh, and live in them:
With my golden fist I'll grip all you godly ones!
Just as I gave up love, everyone who lives will give it up too!
Distracted by gold, you will yearn only for gold!
On your beautiful mountain tops, clad in pleasure, you sway, and you despise [me,] the dark goblin, you eternal luxuriants!
Watch out!
Watch out!
Because when you fall into my power, your overdressed women, who despized my wooing, will be forced to my pleasure, without love.
Ha ha ha ha! Do you hear?
Watch out,
Watch out for the army of the night, when the hoarde of goblins rises from the silent depths into the daylight!
It is necessary for us to explain the involuntary repugnance we possess for the nature and personality of the Jews … The Jews have never produced a true poet. Heinrich Heine reached the point where he duped himself into a poet, and was rewarded by his versified lies being set to music by our own composers. He was the conscience of Judaism, just as Judaism is the evil conscience of our modern civilization.
Die in linder Lüfte weh'n da oben ihr lebt, lacht und liebt:
mit gold'ner Faust euch Göttliche fang' ich mir alle!
Wie ich der Liebe abgesagt,
Alles was lebt soll ihr entsagen!
Mit Golde gekirrt, nach Gold, nur sollt ihr noch gieren!
Auf wonnigen Höh'n, in seligem Weben wiegt ihr euch;
den Schwarzalben verachtet ihr ewigen Schwelger!
Habt Acht! Habt Acht!
Denn dient ihr Männer erst meiner Macht,
eure schmucken Frau'n, die mein Frei'n verschmäht,
sie zwingt zur Lust sich der Zwerg, lacht Liebe ihm nicht!
Ha ha ha ha!
Habt ihr's gehört?
Habt Acht!
Habt Acht!
vor dem nächtlichen Heer,
entsteigt des Niblungen Hort
aus stummer Tiefe zu Tag!
Clever though be the many thoughts expressed by mouth or pen about the invention of money and its enormous value as a civiliser, against such praises should be set the curse to which it has always been doomed in song and legend. If gold here figures as the demon strangling manhood's innocence, our greatest poet shews at last the goblin's game of paper money. The Nibelung's fateful ring become a pocket-book, might well complete the eerie picture of the spectral world-controller. By the advocates of our Progressive Civilisation this rulership is indeed regarded as a spiritual, nay, a moral power; for vanished Faith is now replaced by "Credit," that fiction of our mutual honesty kept upright by the most elaborate safeguards against loss and trickery. What comes to pass beneath the benedictions of this Credit we now are witnessing, and seem inclined to lay all blame upon the Jews. They certainly are virtuosi in an art which we but bungle: only, the coinage of money out of nil was invented by our Civilisation itself; or if the Jews are blamable for that, it is because our entire civilisation is a barbaro-judaic medley, in nowise a Christian creation.
The utter childishness of our provincial public's verdict upon any art-manifestation that may chance to make its first appearance in their own theatre — for they are only accustomed to witness performances of works already judged and accredited by the greater world outside — brought me to the decision, at no price to produce for the first time a largish work at a minor theatre. When, therefore, I felt again the instinctive need of undertaking a major work, I renounced all idea of obtaining a speedy representation of it in my immediate neighbourhood: I fixed my mind upon some theatre of first rank, that would some day produce it, and troubled myself but little as to where and when that theatre would be found.
"Property" has acquired an almost greater sacredness in our social conscience than religion: for offence against the latter there is lenience, for damage to the former no forgiveness. Since Property is deemed the base of all stability, the more's the pity that not all are owners, that in fact the greater proportion of Society comes disinherited into the world. Society is manifestly thus reduced by its own principle to such a perilous inquietude, that it is compelled to reckon all its laws for an impossible adjustment of this conflict; and protection of property — for which in its widest international sense the weaponed host is specially maintained — can truly mean no else than a defence of the possessors against the non-possessors. Many as are the earnest and sagacious brains that have applied themselves to this problem, its solution, such as that at last suggested of an equal division of all possessions, has not as yet been found amenable; and it seems as if the State's disposal of the apparently so simple idea of Property had driven a beam into the body of mankind that dooms it to a lingering death of agony.