The Importance Of Richard Wagner.

By: Wotansvolk

If any one man must be credited for lifting Wotanism back to its rightful place in the present world stage of Aryan consciousness, without question, that individual was Richard Wagner. It is not an exaggeration to state that Wagner wanted his art to become a revitalized religion of the blood. It was not "art for art's sake" that drove Waqner to the dizzying mystic heights of musical and poetic genius. The essence of Wagner in all things was his unwavering and determined commitment to his race and ancestral heritage.

Yes, unlike the many composers before him, Wagner probed deeply in areas beyond the realm of music. This well-spring of profound insight Wagner found in the northern Aryan sagas, most particularly in the Vulsunga Saga. Upon this folk mythos the composer was to pour out the full flood of his talent and emotion.

Wagner's pessimism had built an extraordinary bridge. For some time an inner compulsion had been urging him towards his almost mystical synthesis, but he had held back. From the very beginning his concept of the Teutonic god Wotan and the myths had bound the destiny of the gods and Volsungs closely together. This created a tightly woven interplay of the high ones of Asgard, the Wotan folk consciousness and heroic upward path of Aryan man here on earth.

In composers like Wagner the eye is constantly transmitting very definite folkish and symbolic impressions to the brain with the result that his music readily leans to realistic suggestion, and this is exactly what Wagner had hoped to achieve.

The two artists whom Wagner most admired were Shakespeare in literature and Beethoven in music. These influences. are often witnessed in Wagner's work with its moody, volcanic surges of power and strong emphasis on drama.

Wagner firmly believed that through music one could very possibly redeem a culture, society and its people. To Wagner the theatre was likened to a temple of Aryan art and mystic rite, and through the Teutonic myth he had found the elements which would consecrate a higher folk consciousness and upward path to the Übermensch.

Other great men, also, shared Wagner' s race-lifting thoughts at the time, such as philosopher Fredrich Nietzsche, artist William Morris and the celebrated Wotanist Guido von List, to name a few.

The years 1848 to 1852 were for Wagner a long spell of intellectual and spiritual indigestion. His too receptive brain was taking into itself more impressions of all kinds than it could assimilate. Lohengrin, his second great creative epoch which commenced with the "Flying Dutchman", had come to its perfect end. New ideas of music and drama were ripening in him, but as yet, he had no clear concept of their drift.

His failure to interest the theatre authorities in his great plans for the regeneration of the drama and music drove him deeper into politics. In a speech in 1848 which was to create many enemies for him, he stated, "Only from a new humanity, a new relationship between man and the state, could come a clean and healthy and art-loving civilization." The same year he wrote, "Men, therefore, are not only entitled but bound to demand of society that it shall lead them to ever higher, purer happiness through perfecting of their mental, moral and bodily faculties" .

Wagner would, for example, draw attention to the ancient Aryan Greek civilization which reached its highest point in the theatre. The tragedy, to be precise, was the expression of the deepest and most noble consciousness of its people. Wagner held that a nation must have an intimate connection with its history "The nation itself that stood facing itself in the artwork, that became conscious of itself and, during a few hours, rapturously devoured, as it were, its own essence." Since those ancient days the "unified artwork" has been lost for us; only the dissevered arts exist now.

Wagner, the consummate visionary, sensed the great social upheavals to come and the potential new age of man which could be born from it, and was convinced that from his work would develop an integral foundation towards such a change. Even today this potential resurgence of Aryan awareness through the Wotan consciousness holds a very strong possibility.

The new folk-conscious art demands a new mankind and as a prelude, a return to nature. The goal, both of art and of the folkish impulse, must be "the strong and upright Aryan ideal" to whom revolution shall give his strength and Wotanism his will. "The artist of the future," Wagner had stated, "will not be the poet, the actor, the musician or the plastician, but the , 'folk' to whom alone we owe all Art itself."

Before Richard Wagner's death in 1883 he went on to complete his epic masterpiece of musical genius in 1876, The 15 hour "Der ring des Nibelungen" (The Ring Cycle). To this day there is no music which stirs the Aryan soul so profoundly as Wagner, so strong an impact, in fact, that the Aryanphobic Jewish tribe, whose insensate hatred for the White race is unparalleled, banned his music in Israel. The classical conductor Zubin Mehta of' the New York Philharmonic experienced the reality of' this, when during a concert in Israel in 1981 he tried to conduct Wagner's "Liebestod" from Tristan and Isolde, and caused a major riot in Tel Aviv.

Richard Wagner' s music will long be the topic of great controversy, though it can be enjoyed by most anyone, it was never created to please everyone. Like the Wotan archetype, Wagner's music was born of its people, this primal phenomenon, beyond which we no longer seek, perceive or explain anything, and which we should only respect in order to permit it to take its place within us.