- Copyright Page
- List of Contributors
- List of Abbreviations
- Schopenhauer’s Intellectual Relationship with Goethe: An Ambivalent Affinity
- Karl Christian Friedrich Krause’s Influence on Schopenhauer’s Philosophy
- Schopenhauer’s Understanding of Schelling
- Fichte and Schopenhauer on Knowledge, Ethics, Right, and Religion
- Schopenhauer and the Orient
- The Enduring Kantian Presence in Schopenhauer’s Philosophy
- Schopenhauer on the Will as the Window to the World
- Force in Nature: Schopenhauer’s Scientific Beginning
- Schopenhauer and Hume on Will and Causation
- Schopenhauer’s Haunted World: The Use of Weird and Paranormal Phenomena to Corroborate His Metaphysics
- The Mystery of Freedom
- Classical Beauty and the Expression of Personal Character in Schopenhauer’s Aesthetics
- The Genius and the Metaphysics of the Beautiful
- Schopenhauer and the Paradox of the Sublime
- Schopenhauer and the Metaphysics of Music
- The Moral Meaning of the World
- Schopenhauer’s Pessimism in Context
- Schopenhauer’s Moral Philosophy: Responding to Senselessness
- Schopenhauer on Law and Justice
- Schopenhauer, Buddhism, and Compassion
- Schopenhauer and Confucian Thinkers on Compassion
- Schopenhauer and the <i>Diamond-Sūtra</i>
- Schopenhauer and Hindu Thought
- Schopenhauer and Christianity
- The Inscrutable Riddle of Schopenhauer’s Relations to Jews and to Judaism
- Post-Schopenhauerian Metaphysics: Hartmann, Mainländer, Bahnsen, and Nietzsche
- Nietzsche’s Schopenhauer
- Schopenhauer and the Unconscious
- Schopenhauer’s Influence on Wagner
- Schopenhauer’s <i>Fin de Siècle</i> Reception in Austria
- The Next Metaphysical Mutation: Schopenhauer as Michel Houellebecq’s Educator
Abstract and Keywords
This chapter traces the evolution of Wagner’s engagement with Schopenhauer’s philosophy from the 1850s through 1883. It considers Wagner’s three Schopenhauerian operas in relation to the composer’s contemporary writings, suggesting that both music and prose were vehicles through which he sought to extend and correct what he perceived as shortcomings in Schopenhauer’s work. In Tristan und Isolde and related correspondence, Wagner identified a pathway to redemption from suffering born of Schopenhauerian will, attainable through the experience of erotic love. In Die Meistersinger von Nürnberg and the essay “Beethoven,” Wagner elaborated Schopenhauer’s theory of dreams to account for the origins of artistic creativity. In Parsifal and a series of essays appended to “Religion and Art,” Wagner extended Schopenhauer’s notion of compassion to include all living beings, identifying vegetarianism as one of its principal tenets and the Eucharist as its cardinal expression in ritual.
Kevin C. Karnes is Professor of Music at Emory University (Atlanta). His recent work includes Arvo Pärt’s Tabula Rasa (Oxford University Press, 2017) and Korngold and His World (co-edited with Daniel Goldmark; Princeton University Press, 2019). He is also Editor-in-Chief of the Journal of the American Musicological Society. He is currently co-authoring a book with Andrew J. Mitchell (Philosophy, Emory) on Wagner’s conception of subjectivity and redemption.
Andrew J. Mitchell is Winship Distinguished Research Professor in Philosophy at Emory University (Atlanta), specializing in nineteenth- and twentieth-century German thought. He is the author of The Fourfold: Reading the Late Heidegger (Northwestern University Press, 2015) and Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling (Stanford University Press, 2010). He is currently co-authoring a book with Kevin Karnes (Music, Emory) on Wagner’s conception of subjectivity and redemption.
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