/lit/ - Literature

Other than Wagner, what philosophers develop upon Schelling's aesthetics?

>>20162821
>writes 8 volumes of essays no one cares about

Germanic prosody > Mediterranean prosody

Urwissend stachest du einst
der Sorge Stachel in Wotans wagendes Herz:
mit Furcht vor schmachvoll feindlichem Ende
füllt’ ihn dein Wissen,
daß Bangen band seinen Muth.
Bist du der Welt weisestes Weib,
sage mir nun: wie besiegt die Sorge der Gott?

>>20033624
Germanic prosody > Mediterranean prosody

Urwissend stachest du einst
der Sorge Stachel in Wotans wagendes Herz:
mit Furcht vor schmachvoll feindlichem Ende
füllt’ ihn dein Wissen,
daß Bangen band seinen Muth.
Bist du der Welt weisestes Weib,
sage mir nun: wie besiegt die Sorge der Gott?

>Art is the highest expression of activity of a race that has developed its physical beauty in unison with itself and Nature

Are there any non-Icelandic poets who use Stabreim like Wagner?

Is this the board for intellectuals?

>[Richard] earnestly reproached Malwida [von Meysenbug] for not having her ward baptised. This was not right, he said, not everyone could fashion his religion for himself, and particularly in childhood one must have a feeling of cohesion. Nor should one be left to choose: rather it should be possible to say, You have been christened, you belong through baptism to Christ, now unite yourself once more with him through Holy Communion. Christening and Communion are indispensable, he said. No amount of knowledge can ever approach the effect of the latter. People who evade religion have a terrible shallowness, and are unable to feel anything in a religious spirit. (Cosima's Diary entry for 12 December 1873)

>>19445074

>>19386461
He doesn't even have a nice skull.

The last renaissance man.

>philosopher
>poet
>psychologist
>composer
>lecturer
>political activist
>architect

>Goethe, Cervantes saw and created characters, D. Q., Sancho, Faust, Mephisto; Dante, Vergil were wanderers who looked around them, whereas Aeschylus spoke like a priest in the midst of a community. Shakespeare neither the one nor the other, the most enigmatic of them all.
Is he right?

>Weia! Waga! Woge, du Welle, walle zur Wiege! Wagalaweia! Wallala weiala weia!

>In his open letter to Friedrich Nietzsche of 12 June 1872 Wagner explained that Woglinde’s opening gambit is based on OHG heilawâc ( = water drawn from a river or well at some divinely appointed hour), recast by analogy with the eia popeia ( = hushabye) of children’s nursery rhymes.
>In conversation with Cosima, Wagner described this passage as ‘the world’s lullaby’ (CT, 17 July 1869), a reading already suggested by Opera and Drama, where the composer imputes the birth of language to a melodic vocalization.

What was his iq?

>Weia! Waga! Woge, du Welle, walle zur Wiege! Wagalaweia! Wallala weiala weia!

>In his open letter to Friedrich Nietzsche of 12 June 1872 Wagner explained that Woglinde’s opening gambit is based on OHG heilawâc ( = water drawn from a river or well at some divinely appointed hour), recast by analogy with the eia popeia ( = hushabye) of children’s nursery rhymes.
>In conversation with Cosima, Wagner described this passage as ‘the world’s lullaby’ (CT, 17 July 1869), a reading already suggested by Opera and Drama, where the composer imputes the birth of language to a melodic vocalization.

Name a more important German poet from the second half of the 19th century.

>>18536662

>Drama, for Hegel, is the “highest” and most concrete art (PKÄ, 205)—the art in which human beings themselves are the medium of aesthetic expression. (Seeing a play performed by actors, as opposed to hearing it read aloud or reading it for oneself, is thus central, in Hegel’s view, to the experience of drama [Aesthetics, 2: 1182–5; PKÄ, 223–4].) Drama, indeed, is the art in which all the other arts are contained (virtually or actually): “the human being is the living statue, architecture is represented by painting or there is real architecture,” and—in particular in Greek drama—there is “music, dance and pantomime” (PKÄ, 223). At this point, it is tempting to say that, for Hegel, drama—to use Richard Wagner’s expression—is the “total work of art” (Gesamtkunstwerk). It is doubtful, however, whether Hegel would have been sympathetic to Wagner’s project. Hegel remarks that drama takes the explicit form of a “totality” in opera, which belongs more to the sphere of music than to drama proper (PKÄ, 223). (He has in mind in particular the operas of Gluck and Mozart.) In drama as such, by contrast, language is what predominates and music plays a subordinate role and may even be present only in the virtual form of versification. The Wagnerian idea of a “music drama” that is neither a straightforward opera nor a simple drama would thus appear, from Hegel’s point of view, to confuse two distinct arts.

>>18209749

>>18189125

>>18172092

>will not perform a single drama from his tetralogy until his revolutionary theatre is built just for his works

Where to start with this chad?

I've been reading about Wagner's original Ring, if the story was going to end with the God's redeemed and continue living, after Siegfried and Brunnhilde die, then that's not exactly an "anarchist" worldview is it? It's the re-correcting of law and state, by the world-historical hero, whose effect is only felt after his death.

So, if we were to go by the (now clearly wrong) interpretations of many, which claims the new ending was supposed to symbolise the complete death of the state and freedom of the people, then it would mean Wagner became more of a revolutionary AFTER reading Schopenhauer, instead of Feuerbach and the other revolutionary writers.

Honestly I can't tell if the Ring is just something of a mess or I'm missing something.