On State and Religion

“Über Staat und Religion”

Published 1864

Overview

A private essay written for the young King Ludwig II of Bavaria, explaining how Wagner’s views had changed since his revolutionary writings. Drawing on Schopenhauer, he describes the state as a contract for stability among blind, self-seeking individuals, held together by the illusion he calls “Wahn” in the form of patriotism and embodied in the king. True religion stands above the state, and art offers a final, consciously acknowledged illusion that lifts us above life.

A Question from a Young Friend

Wagner explains that a “highly-prized young friend,” the king, has asked whether his views on state and religion have changed since his writings of 1849 to 1851. He recalls Schiller’s saying “Life is earnest, Art is gay” and admits that he once reversed it, taking art so seriously that he sought a basis for it in life, state and religion. He insists that he never took part in practical politics and was wrongly seen as a political revolutionary. He was interested only in social movements that seemed to promise a beautiful shaping of human life, and imagined labour shared so widely that it would become an artistic occupation, much as in Goethe’s Wilhelm Meister. His Ring poem, written at that time, already showed him intuitively “the truth about things human”: that everything is tragic, and the will can at last find satisfaction only in breaking itself.

The State and Its Need for Stability

Wagner now views life as deeply earnest. The world, he says, is driven not by knowledge but by a blind will that sees only immediate needs. The noblest reformers have failed because they asked of the world what it cannot give, while practical success goes to politicians who see only the needs of the moment. The state arises as a contract by which individuals give up a little of their egoism to protect the rest. Its essential tendency is stability, and its strongest guarantee is hereditary monarchy. The king stands above party interests and represents equity and, where equity fails, grace.

Wahn and Patriotism

To explain why people honour the king and even die for the state, Wagner introduces the idea of “Wahn,” a kind of illusion or semi-conscious dream. Following Schopenhauer’s account of animal instinct, he notes that insects labour for future generations they cannot know, driven by an illusion that makes the species’ needs appear to be their own. In political life this Wahn appears as patriotism, which makes the citizen feel a danger to the state as a danger to himself and sacrifice himself accordingly. Because this feeling cannot last, it needs a lasting symbol, and that symbol is the king.

Yet patriotism, Wagner warns, blinds the citizen to the interests of humanity. Its law has always been injustice and violence toward other states, so that Europe lives in “a perpetual state of war, with intervals of armistice,” as its standing armies show. Patriotism is also easily misused by demagogues, above all through so-called “public opinion,” which Wagner says is manufactured by the press, an industry staffed by literary failures and bankrupt businessmen and always for sale. He suggests that since printing and journalism, humanity has lost much of its capacity for healthy judgment, and that the king suffers most of all from this counterfeit patriotism.

The Tragedy of Kings

The king, unlike the citizen, the general or the statesman, is called to strive for the ideal of justice and humanity, which can never be fully realised. This is why legend and poetry have always shown the tragedy of human life most clearly in the fate of kings. A weak king is crushed into personal nullity by his position; a noble king sees more deeply than anyone that the human need is far greater than the state can satisfy. Just as patriotism raised the citizen to his highest height, only religion can raise the king to true human dignity.

Religion and Dogma

True religion, Wagner argues, is fundamentally opposed to the state, and religions have been purer the further they withdrew from it. Its basis is a sense of the unhappiness of human existence, its core the denial of the world as a fleeting dream, and its goal redemption through renunciation and faith. Voluntary suffering, he says, is not a selfish bargain for future bliss, since it already overcomes egoism and brings an inner joy beside which the conqueror’s pleasure seems childish.

Religious dogma presents in positive form what philosophy can only state negatively, but it can reach ordinary people only as allegory, like a dream retold by day. When dogma is dragged before ordinary reason to be defended and explained, especially once religion allies itself with the state, it becomes distorted, leading to sectarian strife and violence on one side and materialistic unbelief on the other. Religion survives only in the inner chamber of the individual heart, and can be shown to the world only through example: the saint and martyr are its true mediators. Wagner mocks the English shopkeeper who thinks that in his Sunday coat he speaks directly with God. A king who possesses this religious insight would combine “unflinching justice” and “ever ready mercy,” the mystery of the royal ideal, and here state and religion could meet again.

Art as a Conscious Illusion

Finally Wagner asks how a great and noble spirit can endure the terrible seriousness of life without despair. Such a person needs a noble form of distraction, a Wahn that openly admits it is an illusion and so cannot be disputed like dogma. That is the task of art, which does not lead us out of life but lifts us above it and shows it as a play. In the noblest art the dream-picture of the holiest revelation returns clearly, and the nothingness of the world is shown “harmless, frank, avowed as though in smiling.” He closes by confessing that only on this path has he regained full awareness of art’s serenity.