The Wagner Hitler Loved
By Brother Nathanael
Reposted from: http://www.realjewnews.com/
Everyone’s heard of Richard Wagner unless you live in Israel.
He’s tarred as an ‘anti-Semite’ though not a shred can be found in any of his operas.
His works are banned in Israel, and his name despised by Jews worldwide for being Hitler’s ‘composer of choice.’
But blaming Wagner because Hitler used Rienzi at his rallies is like blaming the Rolling Stones for Trump using one of their songs at the end of his Republican Convention speech.
And just because Wagner believed in the German “volk” doesn’t make him a “National Socialist” which was non-existent in his day.
In his opera, Parsifal, Wagner casts Kundry as the ‘wandering Jew’ – exiled from Palestine for mocking Christ when hanging on the Cross.
“I saw Him and laughed,” sings Kundry, and thus was cursed to roam the earth in unending rootlessness.
Since ‘political correctness’ didn’t exist in Wagner’s day, merging art with history was a laudable enterprise.
But not so with modern Jewry which uses this opera to call Wagner an ‘anti-Semite.’
They run amok with their reproach by citing his pamphlet, “Jewishness in Music,” in which Wagner decried the Jewish corruption of Germanic music.
By directing his criticism against Felix Mendelssohn and Giacomo Meyerbeer, Wagner sought to highlight “the involuntary repellence possessed by Germans due to the nature and personality of the Jews.”
Wagner perhaps had in mind Mendelsohn’s Violin Concerto…
…yes, melodious, but hardly “German,” kind of “Hebraic,” but actually, “Slavic”…totally inimical to Wagner’s ideal, as this:
[Clip: Excerpt Valkyries March]
You see, Jews have no culture of their own but have adopted the various cultures and customs of The Diaspora.
Witness the Chasids whose garb and hats spring from Eastern Europe.
“The Jew stands solitarily in a soil-less stock,” wrote Wagner.
“Only those who unconsciously grow up within the bond of Germanic historical community can share in its creations.”
It’s creations like Wagner’s Tannhauser where in “Entrance Of The Guests” music and movement sinks below “consciousness” and a nationalist reverie arises.
The scene is very un-Jewish:
A medieval landowner and princess; white knights; hierarchical order; unified ethnicity; aristocratic with religious affect—all constituting a nationalist vision that Wagner expressed, Hitler loved…and Jews despise.
There’s nothing more contemptible in the eyes of the Jew than nationalism rooted in Gentile mythic memory.
Wherever it exists, as it did in post-Weimar Germany, Jews seek to destroy it.
You won’t hear it in Israel where Wagner is banned.
But wherever his heroic vision sounds forth beyond Israel’s borders….
…it reveals—by sharp relief—the sterility of a barren Jewish state of mind.