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Title: Modellen van verlossing in Wagners late opera's
Author(s): FAURE, Gerbert
Journal: Tijdschrift voor Filosofie
Volume: 74 Issue: 4 Date: 2012
In this paper, I aim to argue that the philosophical value of Wagner’s later operas cannot be reduced to a musical and dramatic exploration of Schopenhauer’s views. The musical contrast among Tristan und Isolde, Die Meistersinger von Nürnberg and Parsifal is echoed by a philosophical contrast. These operas turn out to present three different models of redemption. Only the model exhibited in Parsifal can be called Schopenhauerian. Remarkably enough, the model that appears in Tristan can be identified with some thoughts of the late Nietzsche. And the message of Meistersinger seems to bear a great resemblance to what the early Nietzsche was trying to convey. I attempt to show, however, that this representation is too schematic. In the writings of the late Nietzsche, we can discern a fourth model of redemption, which seems to telescope two of the former models. This fourth model can be found in Meistersinger as well, which makes this opera a kind of dialectical Aufhebung of the two extremes that are incarnated in Tristan and Parsifal.