Wagner: The Terrible Man and His Truthful Art
by M. Owen Lee

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Book Reviews of Wagner: The Terrible Man and His Truthful Art

Book Review: The incurable wound
Summary: 5 Stars

The three essays that make up this book were written to be given during the 1998 Larkin-Stuart lectures at the University of Toronto. These lectures are devoted to religious and ethical concerns, and Father Lee took the opportunity to examine the relationship of the artist, Wagner to his art.

The first lecture, "Wagner and the Wound That Would Not Heal" tells the story of Philoctetes, who was shunned by his fellow soldiers because of his unhealing wound. Finally, they exiled him on an island on their way to conquer Troy. In their tenth year of war, after the death of Achilles, the Greeks heard a prophecy "that the city would never be taken unless the wounded Philoctetes was brought to Troy with his bow (the gift from Apollo)." The Greeks sailed back to the island where they had abandoned Philoctetes and persuade the wounded, bitter man to use his gift to help them.

Father Owen is not a Wagner apologist, but he asks us to recognize our debt to the "hateful, wounded man [we] are in need of"---he whose music can penetrate deeply into our psyche and bring us, if not peace, then at least self-knowledge.

The second lecture, "Wagner's Influence: The First Hundred Years" discusses the effect that Wagner exercised, for good and ill, on music, art, literature, politics, and psychology. The author quotes philosopher Bryan Magee as being able to say: "Wagner has had a greater influence than any other single artist on the culture of our age."

Of course, the worm at the core of this lecture is Wagner's "unquestioned influence on Adolf Hitler." There are still people who won't listen to Wagner's music, and Father Lee acknowledges this artist's blatant anti-Semitism: "He probably wreaked more havoc on himself with his essay 'Judaism in Music' than with anything else he wrote." A hundred years later, Goebbels was able to use it as vicious propaganda.

Can we acknowledge this hateful, wounded man and still be pierced by the beauty of his music? The author goes on to quote Leonard Bernstein's article in the 'New York Times,' entitled "Wagner's Music isn't Racist:"

"...And if Wagner wrote great music, as I think he did, why should we not embrace it fully and be nourished by it?"

The third and last lecture that completes this book is entitled, "You Use Works of Art to See Your Soul." Father Owen Lee concentrates on Wagner's early opera, "Tannhäuser" to prove his point, with help from authors such as Baudelaire and Goethe. He is even tempted to wonder if Wagner had Martin Luther in mind when he created his tormented young hero, "who was gifted in song, clashed with the Pope, sought refuge in the Wartburg, defied the society he knew, and profoundly changed it."

Or perhaps, Wagner was thinking of Wagner.

These essays have convinced this reviewer at least, that a seriously flawed human being can produce indispensable, undying, truthful art.

Summary of Wagner: The Terrible Man and His Truthful Art

How is it possible for a seriously flawed human being to produce art that is good, true, and beautiful? Why is the art of Richard Wagner, a very imperfect man, important and even indispensable to us?

In this volume, Father Owen Lee ventures an answer to those questions by way of a figure in Sophocles - the hero Philoctetes. Gifted by his god with a bow that would always shoot true to the mark and indispensable to his fellow Greeks, he was marked by the same god with an odious wound that made him hateful and hated. Sophocles' powerful insight is that those blessed by the gods and indispensable to men are visited as well with great vulnerability and suffering.

Wagner: The Terrible Man and His Truthful Art traces some of Wagner's extraordinary influence for good and ill on a century of art and politics - on Eliot and Proust as well as on Adolf Hitler - and discusses in detail Wagner's Tannhouser, the work in which the composer first dramatised the Faustian struggle of a creative artist in whom 'two souls dwell.' In the course of this penetrating study, Father Lee argues that Wagner's ambivalent art is indispensable to us, life-enhancing and ultimately healing.

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