We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 14 September 2004
This article outlines Richard Wagner's conception of music-drama during the period in which he formulated his intentions for composition of the epic Ring of the Nibelung. Attempting to renew rather than to restore the communal, political nature of Attic tragedy, he wished to transform that model from celebration of the Athenian political order into a savage critique of the contemporary political order, indeed into an incitement to and celebration of revolution. Wagner was determined to restore the dignity of art, a dignity he believed to have been lost in the pursuit of base, commercial considerations; but this determination should not be confused with the idea of art for art's sake. Instead, he wished to renew art in a socialist, even communist, sense as the paradigm of free, productive activity. The direct revolutionary experience of participation in the Dresden uprising of 1849 bolstered his conviction of the necessity of such a transformation. With his magnum opus, Wagner wrote, he intended to ‘make clear to the men of the Revolution the meaning of that Revolution, in its noblest sense’.
