63 definitions
The book's index
The Case of Wagner, Nietzsche Contra Wagner and Selected Aphorisms
46 concepts · 63 definitions
- actor2
- art1
- artist1
- beauty1
- Christianity1
- cynic1
- decadence3
- decline1
- dilettante1
- drama1
- G.W.F. Hegel1
- German1
- good1
- goodness1
- grand style1
- holiness1
- idea1
- instinct1
- integrity1
- love4
- master morality1
- meaning1
- modernity1
- morality1
- music2
- Odin1
- Parsifal1
- passion2
- philosopher2
- pride1
- principle1
- recitative1
- recovery1
- Redeemer1
- redemption2
- Richard Wagner8
- romanticism1
- sensuality1
- shipwreck1
- teacher1
- theater1
- theatrocracy1
- thought1
- vegetarian1
- woman1
- world1
Richard Wagner (n.) is our greatest miniaturist in music: admirable only in the very small, pressing an infinity of meaning and sweetness into the smallest spaces.
Richard Wagner (n.) writes a heroine who, stripped of her heroic skin, is pretty much indistinguishable from Madame Bovary, and who is not able to have children.
Richard Wagner (n.) works like constant alcohol, dampening and coating the stomach, and the more dangerous effect is the corruption of concepts, until the young man turns into a mooncalf, an idealist.
Richard Wagner (n.) sums up modernity: in him modernity speaks its most intimate language and has forgotten any sense of shame.
Love (n.) translated back into nature is fate and fatality, cynical, innocent, and cruel, and its method is war, its basis the deadly hatred between the sexes.
Love (n.) only looks selfless: lovers advance another's interests, but in return they want to possess that person — even God turns terrible if you do not love him back.
Love (n.) in many famous female cases is a subtler parasitism, a nesting in a foreign soul and sometimes in foreign flesh, always at the expense of the host.
Love (n.) is of all feelings the most egoistic, and so, when wounded, the least generous.
A Decadence (n.) of the typical kind treats his corrupted taste as a necessity and a higher taste, and he enforces his corruption as law, as progress, and as fulfilment.
Decadence (n.) shows itself when people are attracted to what they should avoid and raise to their lips what drives them faster into the abyss.
Decadence (n.) in style: life no longer resides in the whole — the word jumps out of the sentence, the sentence blots out the page, the page lives at the expense of the whole.
An Actor (n.) has one insight more than the rest of humanity: things do not need to be true in order to function as if they were true.
An Actor (n.) ushers in his golden age wherever the masses get the final word: genuineness becomes a liability, and you must be an actor to succeed.
Music (n.) was made sick when Wagner learned to use it to stimulate tired nerves, and only sick music makes money these days.
Music (n.) makes the spirit free: the more of a musician you become, the more of a philosopher.
Passion (n.) in the Wagnerian definition is the gymnastics of ugliness on the ropes of the enharmonic.
Passion (n.) comes cheaper than anything: forgo all the virtues of counterpoint, learn nothing — you can always have passions.
A Philosopher (n.) has to be the bad conscience of his age — and so needs to know it best.
A Philosopher (n.) demands first and last of himself to overcome his age; his greatest challenge is whatever marks him as its child.
Redemption (n.) is the whole of Wagner's problem: someone or other is always being redeemed — a boy here, a girl there.
Redemption (n.) sought as a need is the most honest expression of decadence, and the Christian wants to escape from himself.
The World (n.) is a Christian insult.
Art (n.) of the beautiful and great kind belongs with noble morality, and the essence of both is gratitude, while sublime symbols are needed only because the heart is too full.