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In reading these essays we are apt to be deceived, by their virulent and forcible tone, into believing that the whole matter is a mere cover for hidden fire, -a mere blind of aesthetic discussion concealing a deep and implacable personal feud which demands and will have vengeance. In spite of all that has been said to the contrary, many people still hold this view of the two little works before us; and, as the actual facts are not accessible to everyone, and rumours are more easily believed than verified, the error of supposing that these pamphlets were dictated by personal animosity, and even by Nietzsche's envy of Wagner in his glory, seems to be a pretty common one. In Wagner's music, in his doctrine, in his whole concept of art, Nietzsche saw the confirmation, the promotion-aye, even the encouragement, of that decadence and degeneration which is now rampant in Europe; and it is for this reason, although to the end of his life he still loved Wagner, the man and the friend, that we find him, on the very eve of his spiritual death, exhorting us to abjure Wagner the musician and the artist. Friedrich Wilhelm Nietzsche was a 19th-century German philosopher, poet, composer and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism
The Case of Wagner (German: Der Fall Wagner) is a book by the philosopher Friedrich Nietzsche, originally published in 1888. Subtitled "A Musician's Problem", it has also been known as The Wagner Case in English."Nietzsche contra Wagner" is a critical essay by Friedrich Nietzsche, composed of recycled passages from his past works. It was written in his last year of lucidity (1888-1889), but was not published until 1895, six years after his mental collapse. Nietzsche describes in this short work why he parted ways with his one-time idol and friend, Richard Wagner. Nietzsche attacks Wagner's views, expressing disappointment and frustration in Wagner's life choices (such as his conversion to Christianity, perceived as a sign of weakness). Nietzsche evaluates Wagner's philosophy on tonality, music and art; he admires Wagner's power to emote and express himself, but largely disdains what Nietzsche calls his religious biases.