Richard Wagner and Buddhism


Book Description

It is little known that Richard Wagner was among the very first Westerners to appreciate Buddhism and that he was the first major European artist to be inspired by this religion. In 1856, in the prime of his creativity, the 33-year-old artist read his first book about Buddhism. Madly in love with Mathilde Wesendonck, a beautiful but happily married woman, he conceived two deeply connected opera projects: Tristan und Isolde which he went on to compose and stage, and Die Sieger (The Victors), an opera scenario based on an Indian Buddha legend translated from Sanskrit. These two projects mirrored Wagner's burning desire for the consummation of his love and the necessity of renunciation. This Buddhist opera project occupied Wagner's mind for decades until his death in 1883. Indeed, the composer's last words were about the Buddha figure of his scenario and his relationship with women. Urs App, the author of The Birth of Orientalism (University of Pennsylvania Press) and the world's foremost authority on the early Western reception of Buddhism, tells the story of Richard Wagner's creative encounter with Buddhism and explains the composer's last words.




Religion and Art


Book Description

"One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, and turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symhonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm. This edition includes the complete volume 6 of the 1897 translation of Wagner's works commissioned by the London Wagner Society. William Ashton Ellis is one of the most important translators of nineteenth-century musicology. In addition to his monumental translation of Wagner's prose works, he translated Wagner's correspondence with Franz Lizst, Mathilde Wesendonck, and Wagner's own family. Ellis died in 1919.




Richard Wagner


Book Description

Richard Wagner: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer.













Richard Wagner


Book Description




Art Life and Theories of Richard Wagner


Book Description

Reprint of the original, first published in 1875.




Buddhist Art in Its Relation to Buddhist Ideals, With Special Reference to Buddhism in Japan


Book Description

Excerpt from Buddhist Art in Its Relation to Buddhist Ideals, With Special Reference to Buddhism in Japan: Four Lectures Given at the Museum In Sanskrit and Pali, the vowels are pronounced as in Italian or Spanish; s and s are soft, something like sh in English; d and t are pure lingual consonants, not dental as in English; n is also a pure lingual consonant, - not nasal; th and dh are pronounced like the italicized letters in the phrases 'hit hard' and hard hit' respectively. In Chinese, according to Wade's system of transliteration, a is usually long as in 'father'; e short as in 'yet'; e, much like the vowel sound in the German 'schon, ' except before n, when it is like the vowel sound in 'sun'; ilong as in 'machine, ' except before n, when it is short as in 'pin'; 0 not quite so broad as the 'aw' in 'saw'; u like the vowel sound in 'too, ' except before n, when it resembles the vowel sound in 'look'; it like the French 'u' in 'du'; ii, something like the vowel sound in the first syllable of 'surround'; on, something like the vowel sound in 'foe'; ai as in 'aisle'; ei like the vowel sound in 'say'; in other vowel combinations each letter retains its original force; ch is hard as in 'church'; j is soft like the s in vision'; hs approximately like 'sh' in English. The inverted comma in T'ang, Ch'an and other words indicates a gentle aspirate. In Japanese the vowels are sounded as in Italian or Spanish. Each member of a diphthong or other vowel combination retains its original force, and the important distinction between a long and a short vowel results from duration of utterance rather than from any change in sound. The consonants are pronounced approximately as in English. G is hard as in 'give, ' and double consonants should be pronounced really double, as in 'shot - tower' or 'cock-crow.' There is practically no tonic accent, though. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.