Richard Wagner and Mysticism

A way into the inner depths of human nature was thus opened up for art. Richard Wagner could not be a dramatist of everyday life, for he felt that it must once again be possible, as it was in the Mysteries, for the deepest and most sacred experiences to be expressed in art. When he tells us in his own words that symphonic music is a revelation of an unknown world, that the instruments represent primal organs of creation, we can well understand why in his musical dramas he feels it necessary to express much more than the physical part of man's being. Towering above this physical man is the ‘higher man.’ This ‘higher man’ surrounds the physical body like a halo and is much more deeply connected with the sources of life than can be expressed in outer life. It was just because Richard Wagner's aim was to give expression to the higher nature of the human being that he could not draw his characters from everyday life. And so he turned to the myths, for the myths portray Beings far greater than physical man can ever be. It is quite natural that Wagner's stage characters should be mythological figures, for he was thus able to express cosmic laws and the deeds of Beings belonging to an unknown world through the dramatic action and the music—albeit in a form not always understood. I can only give a few examples here, for to enter into every detail would lead too far. But it is everywhere apparent that in the depths of his being, Richard Wagner was connected with the teachings of Spiritual Science.