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Updated: July 25, 2025
Wagner had the utmost contempt for the ordinary press criticism of the day: with that sort of thing, he wrote Uhlig, one could not tempt the cat from behind the stove. He knew what criticism should not be, but when he came to what it should be his view was warped by the obsession that pure music had reached its boundaries, and the future of music was involved with the future of the music-drama.
Nor did he construct his music-drama to expound a philosophy. For a long time the air was thick with arguments pro and con with regard to the amount of Schopenhauer he had made use of in his libretto. Now, it is true that both Tristan and Isolda indulge at times in something approximating to the Schopenhauer terminology; but of Schopenhauer's or any other philosophy I cannot find a trace.
These are the divine attributes, and they are as indispensable to life to-day as they were when Christ walked in Galilee. Compassion and love are the handmaids of hope and faith and joy. The heart to sympathize, the love to aid, lead on to the radiant atmosphere of happiness. There is a deep and impressive significance in the lesson of the music-drama of "Parsifal."
Only, unfortunately, instead of brushing away traditions and going back to the vital conception of Mozart, they sought to modernise it, to convert it into an early Wagner music-drama. The result may be seen in any performance at Covent Garden. The thing becomes a hodge-podge, a mixture of drama, melodrama, the circus, the pantomime, with a strong flavouring of blatherskite.
An eminently Frankish tale, the Nibelungen cycle, has arisen in that martial German tribe which once held sway in the greater part of Europe. In its origin, the tale is considered by many careful investigators so also by Richard Wagner, who founded his famous music-drama on it to have been a Nature myth, upon which real events became engrafted.
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