Religion and Art

“Religion und Kunst”

Published 1880

Overview

Wagner’s major late essay, written under the influence of Schopenhauer. He argues that art can save the true kernel of religion once the Church has buried it under literal dogma, traces the “fall” of humanity to violence and the eating of flesh, and imagines a regeneration through vegetarianism, compassion and peace, crowned by music as the purest voice of the Christian spirit.

Art as the Saviour of Religion

Wagner opens with his central claim: when religion becomes artificial, it falls to art to rescue its spirit. The priest insists that religious symbols be believed as literal fact, while the artist openly presents his work as invention and can therefore reveal the hidden truth inside the symbol. Religion grows artificial, he says, when it keeps piling up dogmas that must be believed and so hides its divine core under “an ever growing heap of incredibilities.”

The core of every true religion, for Wagner, is the recognition that the world is fleeting and full of suffering, and the call to free oneself from it. He contrasts the Brahmin teaching, reserved for “those who know,” with Christianity, which offered its truth to the “poor in spirit.” Its founder, he writes, “was not wise, but divine,” and his teaching was the deed of willing suffering. The learned sects of early Christianity and later the Church, however, turned this simple faith into a mass of complicated myths demanding literal belief.

Painting and the Christian Mysteries

Wagner explains the miracle, in Schopenhauer’s terms, as the reversal of the will to live, which seems to the natural man to overturn Nature itself. He then shows how art could lift the dogmas above their literal absurdity. He contrasts a crude bas-relief in Würzburg, showing God the Father passing the infant Saviour to Mary through a blowpipe, with Raphael’s Sistine Madonna, where the Virgin Mother rises transfigured with her child and reveals a divine love beyond the chastity of any Greek goddess. Michelangelo’s Last Judgment, likewise, shows the Judge of the world with his sorrowing mother at his side. He argues that the Church’s tracing of Christ back to the wrathful Jewish Creator was the seed of its ruin and of modern atheism, since no artist could make that God speak to the soul as the suffering Christ on the cross does.

Poetry, by contrast, was bound to the exact words of dogma. Even Dante, he says, showed his true power only where his vision stood apart from Church teaching. As painting turned away from religion toward portraits and worldly beauty, its ideal power faded.

Music, the True Christian Art

Wagner names music as the only art that fully corresponds to Christian belief. Because the words of worship were fixed by the Church, devotion could only find artistic expression in tone, which dissolved the words into pure feeling. Music owes nothing to the revival of antiquity and is the youngest art, capable of endless growth. Where painting says “That signifies,” music says “That is.” Once the Church became fully worldly, music had to separate from it in order to preserve the noblest heritage of Christianity, and Wagner promises to show its affinity with a pure religion yet to come, as revealed in a Beethoven symphony.

The Fall of Historic Man

The second part traces why religions decayed. Wagner takes as his starting point the Brahmin doctrine against killing animals, founded on the insight “This is thyself,” the unity of all living things. He cites the story of Indian famine victims who would not kill their animals even while starving. In contrast, he claims, history shows man progressing as a beast of prey, conquering, enslaving and founding states to enjoy his plunder. He imagines peaceful Indian peoples returning to the Ganges, while related tribes, crossing deserts, learned to live on flesh and blood and became conquerors of western Asia.

He traces the responses to this fall: the Zoroastrian struggle of light and darkness, and the Greek turn to beauty, which faced the terrible side of life artistically but could not end violence. Pythagoras preached vegetarianism, and Christ gave his own flesh and blood as the final atonement for all shed blood, offering bread and wine instead. Wagner calls the communion the one true sacrament of Christianity, and suggests that the Church’s failure to make believers abstain from meat may be the essential cause of its early decay.

The Church, Jehovah and Modern Civilisation

To rule decaying peoples, Wagner argues, the Church needed terror, and found it in Judaism. He describes the Jewish God as the tribal deity of a “petty nation” promised dominion over the world, and claims that Christianity was ruined by drawing its dogmas from Judaism. He doubts that Jesus was even of Jewish descent, noting that Galileans were despised by the Jews. It is Moses, Joshua and Gideon, not the suffering Saviour, he says, whom Christian armies and army chaplains have truly invoked.

Modern civilisation, in his view, is a compromise between brutality and cowardice. The Church handed heretics to the state to be burned “without bloodshed,” and states now kill at a distance with cannon, just as slaughterhouses hide the daily killing of animals. Money now buys the conqueror’s rights, and nations trust one another only under Machiavellian politicians. Sciences thrive only when they serve war, physiologists practise vivisection, and the arts are used merely as distraction. He asks what Beethoven’s Pastoral Symphony can possibly say to such a public.

Hope in Regeneration

In the third part Wagner argues that the theory of degeneration is the only one that offers real hope, because if humanity fell through outside causes, it can recover. He suggests that great upheavals of the earth drove early peoples from their warm homelands into deserts and cold regions, where hunger first forced them to kill and eat animals. Drawing on Gleizès’s book “Thalysia,” he claims that a diet against nature has made human beings sick and violent.

He proposes that four movements of his day join forces: the vegetarians, the societies for the protection of animals, the temperance unions, and even the socialists, whose grievances rest on a real sense of the immorality of modern civilisation. If they understood the deeper religious meaning of their aims, he says, they could form the basis of a true religion, celebrating the Redeemer each day in bread and wine. He even proposes organised emigration to fertile southern lands, leaving the northern countries to hunters.

Suffering, Pity and Art’s New Mission

Following Schopenhauer, Wagner presents human history as the Will’s “stern school of Suffering,” through which it gains sight of itself. Pity born of suffering cancels the will, and the negation of a negation amounts to an affirmation. We should read history for the sufferings of the vanquished, not the deeds of conquerors. The true poet, “the only one who never lied,” will lead a regenerated humanity, and the great tragedians from the Greeks to Shakespeare will finally be heard.

He tells a Swedish legend of a Nixie who wept when told she could never reach heaven, and then sang all night more sweetly than ever when told she might hope after all. Music, the Church’s noblest legacy, can teach mankind a second language for the Infinite. He imagines an audience truly ready to receive one of Beethoven’s last four symphonies as an act of religious cleansing, in which the listener feels that the world of Will vanishes before the One: “I know that my Redeemer liveth!”

Closing Warning

Wagner denies that he wants to found a new religion. He says his thoughts came to him as a working artist who remained dissatisfied with the public despite his success, and who became convinced that art can thrive only on true morality and is one with true religion. He ends on a dark note, warning that modern warfare is turning ever more mechanical, with armoured warships, torpedoes and dynamite. One accident, followed by a general famine, could return humanity to where history began, and the world might seem made “that the Devil might take it.” Happy, he concludes, are those who have turned back to the fields of old.