Hero-dom and Christendom

“Heldenthum und Christenthum”

Published 1881

Overview

A continuation of “Religion and Art” in which Wagner engages with Gobineau’s theory of racial decline. He accepts that the mixing of races has corrupted the “noblest” white race and its heroic virtues of pride and truthfulness, but argues that the Christian saint is a higher form of hero, and that the blood of Christ, offered to all humanity, could purify even the lowest races and lead to an equality grounded in Christian morality.

Two Theories of Corrupted Blood

Wagner opens by noting that the hope of regenerating the human race meets mostly with obstacles. In “Religion and Art” he had followed sages who traced humanity’s fall to the change from vegetable to animal food, and therefore to a corruption of the blood. Now he turns to Count Gobineau’s “Essay on the Inequality of the Human Races,” which also explains decline through corrupted blood, but blames the crossing of races, in which the noblest lose more than the others gain. Wagner says this picture convinces him “with most terrible force,” and accepts that humanity consists of irremediably unequal races. Yet he asks whether the world has a moral meaning, and whether we intend to perish “as beasts or gods.”

The White Race and the Hero

Wagner repeats the racial hierarchy of his time, claiming that history is the product of the white race and its mixing with black and yellow peoples. He defines what unites all humanity as the capacity for conscious suffering, and says that, according to Gobineau, the white race is distinguished not by superior morals but by a richer store of the qualities from which morals flow: a keener sensitivity of will joined with a strong intellect that can turn back upon the will and tame it.

Those who complete this process in action, he calls heroic. Herakles, persecuted by Hera and forced into servile labours that free the world from plagues, is his model, and Siegfried another. He imagines the early “Aryan” peoples hardened by harsh climates into a proud consciousness of divine descent, for whom a lie was unthinkable and a free man meant a truthful one. Their pride knew no fear, only reverence, and they believed that the man ennobles property rather than property the man. He claims that the Germanic tribes kept these qualities when they met the falling Roman world, and that their mastery of it, and the mixing of breeds that followed, was fatal to them.

The Saint as Hero

Wagner then seeks the hero who turns against the ruin of his own race: the saint. He notes that the Church admitted only the sound and healthy to vows of total renunciation, and rejects the suggestion, made by Nietzsche, that such renunciation is cowardly self-surrender. For Wagner it is the most heroic of all resolves, an act of supreme will in which pity, often roused by the image of the crucified Saviour, turns the will against itself. The saint outdoes the hero in enduring suffering, and his humility is even firmer than the hero’s pride.

He follows Gobineau in calling the mixed population of the late Roman world “Semitic,” and identifies the Roman Catholic Church as the property of the so-called Latin race. But no true saints now arise from it, and he suggests that “the blood of Christendom itself is curdled.”

The Blood of the Redeemer

Wagner insists that no one should ask whether the Saviour’s blood was white or otherwise. He calls it divine: the essence of willing suffering and of the pity that flows through all humanity. Drawing on a speculation of Schopenhauer about the origin of new species under extreme pressure, he suggests that the Redeemer’s blood may have arisen as a divine distillation of the species itself, in the Will’s supreme effort to save humanity.

He contrasts this with Brahminism, which he praises as the most profound religion of the early Aryans, but faults as a “race-religion” designed to keep a conquering race in power over the conquered. Christ’s teaching, by contrast, was simple, consisting almost entirely of example, and his blood was shed for all humanity. So while the blood of the noblest races has been spoiled by mixture, the sharing of the blood of Jesus, symbolised in the Christian sacrament, might raise even the lowest races to divine purity. This, he suggests, may be the antidote to racial decline, and perhaps the reason life exists on earth at all.

Equality and Art

Wagner admits that uniform equality among humans can only be imagined as horrifying, like the bleak vision at the end of Gobineau’s book, but argues that it appears so only through the haze of modern civilisation. He laments that humanity has never spread itself over the most fertile regions of the earth, blames this partly on corrupted blood through diet and racial mixing, and adds that no decorations can hide the “withered heart” of someone born of a loveless marriage, however aristocratic. He concludes that the domination of lower races by higher ones has created an immoral world system, while a flat mixing of all would not create a beautiful one. True equality is thinkable only as a universal moral harmony, which true Christianity alone can bring, and only on that basis can true art flourish. Having reached the realm of art, he breaks off to continue the theme later.