Counter-Currents
  • Private Events
  • T&C
  • Contact
  • Webzine
  • About
  • Books
  • Podcasts
  • Videos
  • Donate
  • Paywall
  • Crypto
  • RSS
    • Main feed
    • Podcast feed
    • Videos feed
    • Comments feed
  • Advertise

LEVEL2

Donate Now Mailing list
  • Webzine
  • About
  • Books
  • Podcasts
  • Videos
  • Donate
  • Paywall
  • Crypto
  • RSS
    • Main feed
    • Podcast feed
    • Videos feed
    • Comments feed
  • Advertise
  • Recent posts

    • The Worst Week Yet: September 17-23, 2023

      Jim Goad

      22

    • Paper Boy: The Life and Times of an Ink-Stained Wretch

      Steven Clark

    • Richard Hanania’s The Origins of Woke

      Matt Parrott

      3

    • The Matter with Concrete, Part 1

      Michael Walker

    • The Virgin Queen Chihuahua Has Spoken!

      Jim Goad

      4

    • Pox Populi and Endeavour on the Latest Migrant Invasion

      Greg Johnson

    • Crowdsourcing Contest! Our Banner

      A. C. C. Reader

      39

    • Adult Cartoons Are a Disaster for Western Civilization, Part 2

      Travis LeBlanc

      17

    • Having It All: America Reaps the Benefits of Feminism

      Beau Albrecht

      5

    • The Captivity Narrative of Fanny Kelly

      Spencer J. Quinn

      7

    • The Virgin Queen Chihuahua Has Spoken!

      Jim Goad

      51

    • Adult Cartoons Are a Disaster for Western Civilization, Part 1

      Travis LeBlanc

      40

    • Plastic Patriotism: Propaganda and the Establishment’s Crusade Against Germany and German-Americans During the First World War

      Alex Graham

      8

    • Race and IQ Differences: An Interview with Arthur Jensen, Part 2

      Arthur Jensen

      1

    • Donald Trump: The Jews’ Psycho Ex-Girlfriend

      Travis LeBlanc

      13

    • Bad to the Spone: Charles Krafft’s An Artist of the Right

      Gunnar Alfredsson

      1

    • Independence Day

      Mark Gullick

    • The Unnecessary War

      Morris van de Camp

      1

    • Bad Cop! No Baklava!

      Beau Albrecht

      7

    • Counter-Currents Radio Podcast No. 552 Millennial Woes on Corporations, the Left, & Other Matters

      Counter-Currents Radio

      6

    • Remembering Charles Krafft: September 19, 1947–June 12, 2020

      Greg Johnson

    • Marx vs. Rousseau

      Stephen Paul Foster

      4

    • The Worst Week Yet: September 10-16, 2023

      Jim Goad

      22

    • The Tinkling Cherub of Mississippi

      Beau Albrecht

      2

    • A Deep Ecological Perspective on the Vulnerability of Eurodescendants

      Francisco Albanese

      3

    • Remembering Francis Parker Yockey: September 18, 1917–June 16, 1960

      Greg Johnson

      1

    • The Counter-Currents 2023 Fundraiser: Idealism Alone Can’t Last Forever

      Pox Populi

      3

    • Ask Me Anything with Millennial Woes

      Greg Johnson

    • Most White Republicans at Least Slightly Agree with the Great Replacement Theory

      David M. Zsutty

      13

    • Field of Dreams: A Right-Wing Film?

      Morris van de Camp

      2

    • Rich Snobs vs. Poor Slobs: The Schism Between “Racist” Whites

      Jim Goad

      99

    • Memories of Underdevelopment: Revolution & the Bourgeois Mentality

      Steven Clark

      2

    • Diversity: Our Greatest Strength?

      Greg Johnson

      2

    • Jon Stewart’s Irresistible: An Election in Flyover Country

      Beau Albrecht

      2

    • Apocalyptic Summertime Fun

      Gunnar Alfredsson

      1

    • Genius Loci: The Rise and Fall of the Great Comedian Peter Cook

      Mark Gullick

      12

    • Counter-Currents Radio Podcast No. 551: Ask Me Anything with Matt Parrott

      Counter-Currents Radio

      2

    • It’s Time to Wind Down the Empire of Nothing

      Morris van de Camp

      1

    • Should Whites Turn Their Backs on the US Military? A Response to Padraig Martin of Identity Dixie

      Spencer J. Quinn

      47

    • Counter-Currents Radio Podcast No. 550: Catching Up with Matt Parrott

      Counter-Currents Radio

      5

    • Race and IQ Differences: An Interview with Arthur Jensen, Part 1

      Arthur Jensen

    • Otázka ženského masochismu

      F. Roger Devlin

    • The Worst Week Yet: September 3-9, 2023

      Jim Goad

      33

    • Robert F. Kennedy, Jr.’s The Real Anthony Fauci, Part Two: The HIV Swindle

      Jef Costello

      33

    • Born Innocent

      Travis LeBlanc

      6

    • The Counter-Currents 9/11 Symposium

      Greg Johnson

    • Remembering D. H. Lawrence: September 11, 1885–March 2, 1930

      Greg Johnson

      4

    • Nothing KKKompares to the KKK

      Jim Goad

    • Catching Up with Matt Parrott

      Greg Johnson

    • Sexuální utopie v praxi, část 4

      F. Roger Devlin

  • Classics Corner

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 1

      Greg Johnson

      22

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 2

      Greg Johnson

      3

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 3

      Greg Johnson

      13

    • Remembering H. Keith Thompson
      September 17, 1922–March 3, 2002

      Kerry Bolton

      1

    • Be All You Can Be: On Joining the Military

      Ash Donaldson

      22

    • Transcript of FOX News’ Banned Report on Israel & 9/11

      Spencer J. Quinn

    • The Banned FOX News Report on Israel’s Role in 9/11

      Spencer J. Quinn

      12

    • The Psychology of Conversion

      Greg Johnson

      43

    • Animal Justice?

      Greg Johnson

      18

    • Uppity White Folks and How to Reach Them

      Greg Johnson

      6

    • Lord Kek Commands!
      A Look at the Origins of Meme Magic

      James J. O'Meara

      7

    • Major General J. F. C. Fuller
      (September 1, 1878–February 10, 1966)

      Anonymous

      5

    • Remembering Johann Gottfried von Herder
      (August 25, 1744–December 18, 1803)

      Martin Lichtmesz

      2

    • Moral Seriousness

      Greg Johnson

      13

    • Columbus Day Special
      The Autochthony Argument

      Greg Johnson

      8

    • Remembering Knut Hamsun
      (August 4, 1859–February 19, 1952)

      Greg Johnson

      8

    • Sir Reginald Goodall: An Appreciation

      Greg Johnson

      3

    • 7-11 Nationalism

      Richard Houck

      28

    • Philip K. Dick’s Do Androids Dream of Electric Sheep? as Anti-Semitic/Christian-Gnostic Allegory

      Greg Johnson

      7

    • Eraserhead:
      A Gnostic Anti-Sex Film

      Trevor Lynch

      17

    • Remembering Revilo Oliver
      (July 7, 1908–August 20, 1994)

      Greg Johnson

      17

    • Lars von Trier & the Men Among the Ruins

      John Morgan

      16

    • Heidegger without Being

      Greg Johnson

      17

    • Junetarded Nation

      Jim Goad

      8

    • Counter-Currents Radio Podcast No. 338
      Ted Talk

      Counter-Currents Radio

      3

    • Hegemony

      Greg Johnson

      11

    • Cù Chulainn in the GPO:
      The Mythic Imagination of Patrick Pearse

      Michael O'Meara

      5

    • Remembering Dominique Venner
      (April 16, 1935 – May 21, 2013)

      Greg Johnson

      11

    • A Robertson Roundup: 
      Remembering Wilmot Robertson
      (April 16, 1915 – July 8, 2005)

      Margot Metroland

      13

    • Metapolitics and Occult Warfare

      Greg Johnson

      2

  • Paroled from the Paywall

    • A Call For White Identity Politics: Ed Brodow’s The War on Whites

      Dave Chambers

      6

    • The Fiction of Harold Covington, Part One

      Steven Clark

      21

    • Death by Hunger: Two Books About the Holodomor

      Morris van de Camp

      4

    • A Child as White as Snow

      Mark Gullick

      6

    • Jonathan Bowden’s Final Lecture on Video: Charles Maurras, Action Française, and the Cagoule

      Jonathan Bowden

      1

    • Who Was Lawrence R. Brown? Biographical Notes on the Author of The Might of the West

      Margot Metroland

      16

    • California Discontent, Part 2: Frank Norris’ The Octopus

      Steven Clark

      1

    • California Discontent, Part 1: John Steinbeck’s East of Eden

      Steven Clark

    • 12 More Sex Differences Due to Nature

      Richard Knight

      4

    • Counter-Currents Radio Podcast No. 545 Pox Populi and Morgoth on the Age of Immigration and More 

      Counter-Currents Radio

    • When White Idealism Goes Too Far: Saints of the American Wilderness

      Spencer J. Quinn

      10

    • A Compassionate Spy?

      Beau Albrecht

      11

    • Counter-Currents Radio Podcast No. 544 Pox Populi, American Krogan, & Endeavour on the Metaverse

      Counter-Currents Radio

    • Nietzsche and the Psychology of the Left, Part Two

      Collin Cleary

      2

    • Thoughts on an Unfortunate Convergence: Doctors, Lawyers, and Angry Women

      Stephen Paul Foster

      5

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 3: What Is Liberalism?

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 2: What Is Liberalism?

      Alain de Benoist

      1

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 1: What Is Liberalism?

      Alain de Benoist

      1

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part IV

      Kenneth Vinther

      2

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part III

      Kenneth Vinther

      1

    • Counter-Currents Radio Podcast No. 543 Greg Johnson on Plato’s Gorgias, Lecture 4

      Counter-Currents Radio

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part I

      Kenneth Vinther

      1

    • Jack London’s The Iron Heel as Prophecy, Part 2

      Beau Albrecht

    • The Scottish Mr. Bond? An Interview with Mystic

      Travis LeBlanc

      2

    • Counter-Currents Radio Podcast No. 542 Greg Johnson on Plato’s Gorgias, Lecture 3

      Counter-Currents Radio

    • The Bard Across Three Reichs: Germany, Shakespeare, and Andreas Höfele’s No Hamlets, Part II

      Kathryn S.

      4

    • The Bard Across Three Reichs: Germany, Shakespeare, and Andreas Höfele’s No Hamlets, Part I

      Kathryn S.

      3

    • Against Liberalism: Society Is Not a Market, Introduction, Part III

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Introduction, Part II

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Introduction, Part I

      Alain de Benoist

      1

  • Recent comments

    • Shift

      The Worst Week Yet: September 17-23, 2023

      Howard Stern and Donald Trump have a lot in common.  Howard Stern, Donald Trump, Elvis Presley, Jim...

    • Edmund

      Crowdsourcing Contest! Our Banner

      I've done it. That is, convert non-conservative secular whites into my way of thinking. I admit, it'...

    • Jim Goad

      The Virgin Queen Chihuahua Has Spoken!

      A quick search of “Nick Fuentes” and “working class” on Google yielded this video. Yeah, it’s from “...

    • ShadowPal

      The Worst Week Yet: September 17-23, 2023

      I remember a few episodes of Howard Stern's show. One episode had a game show with black contestants...

    • Weave

      Adult Cartoons Are a Disaster for Western Civilization, Part 1

      Did you make an effort to stop swearing? I keep trying to stop, but traffic gets me every time.

    • Margot Metroland

      Christopher Rufo on White Identity Politics

      Indeed, and that's my usual mainstream-normie reaction. We can't let the perfect be the enemy of the...

    • Jim Goad

      The Worst Week Yet: September 17-23, 2023

      Since this lists her age as 30, and since It's Always Sunny premiered in 2005, it's not possible she...

    • cad

      Adult Cartoons Are a Disaster for Western Civilization, Part 2

      There is the recent McDonald's meme, of a post from a Japanese McD vs. one from America, one showing...

    • Josephus Cato

      The Virgin Queen Chihuahua Has Spoken!

      What are he specific examples of him attacking working class whites?

    • Tube Compressor

      The Virgin Queen Chihuahua Has Spoken!

      I don't think anyone could have done a better job mocking this joke better than Jim Goad. Nick is...

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      This reminds me of another Sunny episode, where Frank's love interest in the 70s was a black disco...

    • Jim Goad

      The Worst Week Yet: September 17-23, 2023

      Mỹ hunch is that "Sharday" was a phoneticized version of the singer Sade's name.

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      Is it possible that "Sharday McDonald's" parents named her after the characters on their favorite TV...

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      That was Peak Stern and also Peak Broadcast TV. He claimed his WOR show was popular with blacks...

    • Sinope Cynic

      The Worst Week Yet: September 17-23, 2023

      What is your point? "Christianity would never have been without whites, and whites were destroyed by...

    • Jim Goad

      Crowdsourcing Contest! Our Banner

      and yes, that includes demonstrating theologically the compatibility between white preservationism...

    • Jim Goad

      Crowdsourcing Contest! Our Banner

      My experience and belief is that the defining element of today’s Left is its all-encompassing...

    • Lord Shang

      The Worst Week Yet: September 17-23, 2023

      "Pope Fidel, I mean Francis ..." - how Trump should preface any rejoinder to any debate question or...

    • Mike Bennett

      The Worst Week Yet: September 17-23, 2023

      This filthy garbage “Pope” , that the (cough, cough!)“Globalists dumped on us,  should realize that...

    • Dain Smocks

      The Virgin Queen Chihuahua Has Spoken!

      Jim has the right to respond to Nick. If you think Jim provoked Nick, well that's just too bad, the...

  • Book Authors

    • Beau Albrecht
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Collin Cleary
    • Jef Costello
    • Savitri Devi
    • F. Roger Devlin
    • Buttercup Dew
    • Julius Evola
    • Jim Goad
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Greg Johnson
    • Charles Krafft
    • Anthony M. Ludovici
    • Trevor Lynch
    • H. L. Mencken
    • J. A. Nicholl
    • James J. O’Meara
    • Christopher Pankhurst
    • Tito Perdue
    • Michael Polignano
    • Spencer J. Quinn
    • Fenek Solère
    • Irmin Vinson
    • Leo Yankevich
    • Francis Parker Yockey
    • Multiple authors
  • Webzine Authors

    Editor-in-Chief

    • Greg Johnson, Ph.D.

    Featured Writers

    • Beau Albrecht
    • Morris V. de Camp
    • Stephen Paul Foster, Ph.D.
    • Jim Goad
    • Alex Graham
    • Mark Gullick, Ph.D.
    • Greg Johnson, Ph.D.
    • Spencer J. Quinn

    Frequent Writers

    • Aquilonius
    • Anthony Bavaria
    • Alain de Benoist
    • Kerry Bolton, Ph.D.
    • Collin Cleary, Ph.D.
    • Jef Costello
    • F. Roger Devlin, Ph.D.
    • Richard Houck
    • Ondrej Mann
    • Margot Metroland
    • John Morgan
    • Trevor Lynch
    • James J. O’Meara
    • Kathryn S.
    • Thomas Steuben
    • Michael Walker

    Classic Authors

    • Maurice Bardèche
    • Jonathan Bowden
    • Julius Evola
    • Guillaume Faye
    • Ernst Jünger
    • Kevin MacDonald, Ph.D.
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Dominique Venner
    • Leo Yankevich
    • Francis Parker Yockey

    Other Authors

    • Howe Abbott-Hiss
    • Michael Bell
    • Buttercup Dew
    • Giles Corey
    • Bain Dewitt
    • Jack Donovan
    • Richardo Duchesne, Ph.D.
    • Emile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Fullmoon Ancestry
    • Tom Goodroch
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Alexander Jacob
    • Nicholas Jeelvy
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • G A Malvicini
    • John Michael McCloughlin
    • Millennial Woes
    • Michael O’Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Herve Ryssen
    • Alan Smithee
    • Fenek Solere
    • Ann Sterzinger
    • Robert Steuckers
    • Tomislav Sunic
    • Donald Thoresen
    • Marian Van Court
    • Irmin Vinson
    • Aylmer Wedgwood
    • Scott Weisswald
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
  • Private Events
  • T&C
  • Contact
Sponsored Links
Spencer J. Quinn Above Time Coffee Antelope Hill Publishing Identaria Paul Waggener IHR-Store Asatru Folk Assembly No College Club American Renaissance The Patrick Ryan Show Jim Goad The Occidental Observer
Print May 13, 2013 2 comments

Wagner Bicentennial Symposium  
Evil Genius:
Constructing Wagner as Moral Pariah, Part 1

Brenton Sanderson
Richard Wagner, 1813-1883

Richard Wagner, 1813–1883

4,763 words

Part 1 of 4

Richard Wagner was a one man artistic and intellectual movement whose shadow fell across all of his contemporaries and most of his successors. Other composers had influence; Wagner had a way of thinking named after him. It has been claimed that “never since Orpheus has there been a musician whose music affected so vitally the life and art of generations.”[1] 

A significant biographical feature of the composers that followed Wagner was how they grappled with his legacy. Some, like Bruckner and Strauss, imitated him; some, like Debussy and Bartok, rejected him; and some, like Hugo Wolf, were almost paralyzed by the immensity of his achievement. Wagner’s influence extended to writers and intellectuals like Proust, Joyce, Lawrence, Mann, Baudelaire, Eliot, Nietzsche, and Shaw. Given his huge impact on Western culture, Bryan Magee has strong grounds for his contention that “Wagner has had a greater influence than any other single artist on the culture of our age.”[2]

Wagner was a deeply polarizing figure in his lifetime, and no other composer has provoked such extreme antipathy or adulation. It has been said that his music has been loved and hated more immoderately than that of any other composer. Wagner was notoriously unscrupulous in his personal life; but his sexual and financial misdemeanors pale into insignificance beside the vastness and originality of his compositions. Even the anti-Wagnerites have had to acknowledge the magnitude of his achievement, and his most fanatical detractors (a great many of them Jewish) have reluctantly agreed with Tchaikovsky, who wrote of the Ring: “Whatever one might think of Wagner’s titanic work, no one can deny the monumental nature of the task he set himself, and which he has fulfilled; nor the heroic inner strength needed to complete the task. It was truly one of the greatest artistic endeavors which the human mind has ever conceived.”[3]

One hundred and thirty years after his death, Wagner retains a cultural prominence that surpasses any of his contemporaries. The excellence of his music has ensured its popularity has never waned, and Wagner is still well represented on recordings, on radio, and in the theater. Wealthy Wagner devotees travel the world in pursuit of live performances of his fifteen-hour, four-night opera cycle, Der Ring des Nibelungen. Every year thousands still make a pilgrimage to the small Bavarian city of Bayreuth where in 1876 he inaugurated a festival devoted to his own music. The appeal of Wagner’s music, libretti, and stagecraft has ensured his music dramas remain useful to opera companies around the world as a reliable income source, even in straitened economic times.

It is, however, Wagner’s standing as “a notorious anti-Semite,” and the intellectual establishment’s obsession with him on this basis, that has increasingly molded his image in the popular consciousness. A long line of books and documentaries have explored Wagner’s anti-Semitism and his putative role as the spiritual and intellectual godfather to Hitler. In the Jewish-dominated cultural milieu of the contemporary West, this meme has taken on such a life that Wagner’s name is seldom mentioned today without the obligatory disclaimer that, while admittedly (and unfortunately) a musical genius, his reputation is forever sullied by his standing as a morally loathsome anti-Semite. A consequence of this, notes William Berger, is that for many people, Wagner “has become symbolic of everything evil in the world.”[4] Indeed, Wagner’s reputation is now so thoroughly tainted that one almost never encounters a serious examination of his ideas. As the cultural commentator Adrian Mourby notes: “The notion that artists don’t have to be as beautiful as the works they create is a commonplace now — except in the case of Wagner. ‘Judaism in Music’ is what has made him the unforgivable exception.”[5] 

Judaism in Music

Kevin MacDonald observes in Separation and its Discontents that Richard Wagner is perhaps the best known intellectual who focused on the Jewish domination of culture.[6] Wagner first expounded on what he saw as the pernicious Jewish influence on German art and culture in his 1850 tract Das Judenthum in der Musik (usually translated as Judaism in Music or Jewishness in Music), which was published under pseudonym in 1850.[7] Wagner’s essay took up the theme of a previous article by Theodor Uhlig in the Neue Zeitschrift für Musik that was critical of the “Hebraic art taste” that Uhlig thought was manifest in Meyerbeer’s grand opera Le Prophète.

Wagner attempted in his essay to account for the “popular dislike of the Jewish nature,” and “the involuntary repellence possessed for us by the nature and personality of the Jews.” He concludes that Germans instinctively disliked Jews due to their alien appearance, speech, and behavior, noting that “with all our speaking and writing in favor of the Jews’ emancipation, we always felt instinctively repelled by any actual, operative contact with them.”[8] Wagner here simply stated an obvious fact: that Germans, like all other racial and ethnic groups, were ethnocentric, and this colored their interactions with a fiercely competitive resident outgroup like the Jews. According to Wagner, “We are deliberately distorting our own nature if we feel ashamed to proclaim the natural revulsion aroused in us by Jewishness . . . Despite our pretended liberalism we still feel this aversion.”[9]

Wagner argued in Judaism in Music that Jewish musicians were only capable of producing music that was shallow and artificial because they had no connection to the genuine spirit of the German people. He observes that: “So long as the separate art of music had a real organic life-need in it down to the epochs of Mozart and Beethoven, there was nowhere to be found a Jewish composer. . . . Only when a body’s inner death is manifest, do outside elements win the power of lodgment in it — yet merely to destroy it.”[10] Jews had not fully assimilated into German culture, so did not identify with and merge themselves into the deepest layers of that culture, including its religious and ethnic influences — the Volksgeist. According to Wagner, “our whole European art and civilization . . . remained to the Jew a foreign tongue.” The Jews “through an intercourse of two millennia with European nations” had never fully abandoned the posture of “a cold, nay more, a hostile looker-on.” The entry of the Jews into nineteenth-century European society was for Wagner the infiltration of a wholly alien and antagonistic group whose success symbolised the spiritual and creative crisis of German and European culture.

The same thesis was advanced by Zionist intellectuals like Ahad Ha’Am (the pseudonym of Asher Ginsburg). Kevin MacDonald notes that both Wagner and Ginsburg “developed the idea that Jews could not have their own artistic spirit because they failed to identify completely with the surrounding culture.”[11] In Wagner’s view, higher culture springs ultimately from folk culture. In the absence of Jewish influence, German music would once again reflect the deeper layers of German folk culture. For Wagner, “Judaic works of music often produce on us the impression as though a poem of Goethe’s, for instance, were being rendered in the Jewish jargon. . . . Just as words and constructions are hurled together in this jargon with wondrous inexpressiveness, so does the Jewish musician hurl together the diverse forms and styles of every age and every master. Packed side by side, we find the formal idiosyncrasies of all the schools, in motleyest chaos.”[12]

For Wagner, Jewish art was characterized by imitativeness, and therefore, by shallowness and superficiality. This was exemplified by the compositions that dominated the music scene of his time. From the depth and intensity of Bach, Mozart, and Beethoven, the music of the concert hall had descended to the superficiality of Mendelssohn — who had diverted the “tempests of revolution” into soothing salon music. Similarly, opera had fallen from the musical-dramatic peaks of Gluck and Mozart to the barren flatlands of Meyerbeer and Halévy. For Wagner, all that was meretricious in Grand Opera could be ascribed to the Jewishness of its composers — whose work amounted to a series of glib surface effects. He writes: “Of necessity what comes out of attempts by Jews to make art must have the property of coldness, of non-involvement, to the point of being trivial and absurd. We are forced to categorize the Jewish period in modern music as the period of consummate uncreativeness – stagnation run to seed.”

Bryan Magee observes that “to write works of this kind was to make use of art as a mere means — a means of entertainment, a means of giving pleasure and getting to be liked, a means of achieving status, money, fame. For Jews it was a means of making their way in an alien society.”[13] It certainly worked for Meyerbeer, with the first hundred performances of Le Prophète in Berlin alone netting him 750,000 marks — almost 200,000 marks more than the entire sum Wagner received over nearly two decades from his patron King Ludwig II of Bavaria.[14]

Wagner’s thesis has been roundly condemned by Jewish commentators, and yet the Jewish music commentator David Rodwin, while labelling Wagner’s essay “a vile anti-Semitic screed,” admits there is substantial truth in the “aesthetic eclecticism” that Wagner identified as a unifying feature of Jewish composers.[15] Regarding Wagner’s attribution of “imitativeness” as a particularly Jewish trait, Jacob Katz likewise acknowledges that: “Jewish qualities may quite naturally appear — for better or for worse — in artistic creations of Jews, even of those who have joined non-Jewish culture. It would therefore be preposterous to dismiss categorically all observations from the mouths of anti-Semites as prejudicial misconceptions.”[16] Magee calls Wagner’s thesis “unbelievably original” and notes that:

One does not need to share Wagner’s view of Mendelssohn, who came from a Christianized and highly assimilated family, to see that his argument is substantially correct. . . . A really great creative artist is one who, in freely expressing his own needs, aspirations, and conflicts, articulates those of an entire society. This is made possible by the fact that, through his earliest relationships, mother tongue, upbringing, and all his first experience of life, the cultural heritage on which he has entered at birth is woven into the whole fabric of his personality. He has a thousand roots in it of which he is unaware, nourishing him below the level of consciousness, so that when he speaks for himself he quite unconsciously speaks for others. Now in Wagner’s time it was impossible for a Jewish artist to be in this position. The ghettos of Western Europe had only begun to be opened in the wake of the French Revolution, and their abolition was going on throughout the nineteenth century. The Jewish composers of Wagner’s day were among the very first emancipated Jews, pastless in the society in which they were living and working. They spoke its language with, literally, a foreign accent.[17]

According to Magee, Wagner failed to notice that he was describing a transitional phenomenon — that the creations of Jewish composers would inevitably become “deeper” and more culturally authentic as the descendants of emancipated Jews assimilated into their host societies. Magee cites the emergence of Mahler and Schoenberg in the late nineteenth century to illustrate his point.

Drawing on the thesis of Heinrich Laube’s book Struensee, Wagner argued in Judaism in Music that Jews had also degraded German art by introducing their commercializing spirit into it. In February of 1848, at the funeral of Wagner’s mother, Laube had commiserated with his friend Wagner, equating the sadness of the hour with their mutual despair at the state of German art and culture, noting that “On the way to the station, we discussed the unbearable burden that seemed to us to lie like a dead weight on every noble effort made to resist the tendency of the time to sink into utter worthlessness.” As the preface to Struensee makes clear, this “worthlessness” consisted in the flowering of Jewish commercial values. Wagner’s only remedy was to “plunge dully and coldly into the only thing that could cheer me and warm me, the working out of my Lohengrin and my studies of German antiquity.”[18] Regarding the Jewish tendency to convert art into a branch of commerce, Wagner writes:

[All] is turned to money by the Jew. Who thinks of noticing that the guileless looking scrap of paper is slimy with the blood of countless generations? What the heroes of the arts . . . have invented . . . from two millennia of misery, today the Jew converts into an art-bazaar. . . . We have no need first to substantiate the Jewification [Verjudung] of modern art. It springs to the eye and thrusts upon the senses. . . . But if emancipation from the yoke of Judaism appears to us the greatest of necessities, we must hold it crucial above all to assemble our forces for this war of liberation. But we shall never gain these forces by merely defining the phenomenon [of Judaism] in an abstract way. This will be done only by accurately knowing the nature of that involuntary feeling of ours which utters itself as an instinctive repugnance against the Jew’s prime essence. . . . Then we can rout the demon from the field . . . where he has sheltered under a twilit darkness . . . which we good-natured humanists ourselves have conferred on him.[19]

For Wagner, Judaism was the embodiment of the bourgeois money-egoist spirit, and he observes that: “When our social evolution reached that turning-point at which the power of money to bestow rank began to be openly admitted, it was no longer possible to keep the Jews at bay. They had enough money to be admitted to society.” Wagner believed that Jews “will continue to rule as long as money remains the power to which all our activities are subjugated.” He later confessed to his friend (and future father-in-law) Franz Liszt that: “I felt a long-repressed hatred for this Jewish money-world, and this hatred is as necessary to my nature as gall is to blood. An opportunity arose when their damnable scribbling annoyed me most, and so I broke forth at last.”[20] In Judaism in Music Wagner finds the plea for Jewish emancipation to be “more than commonly naïve, since we see ourselves rather in the position of fighting for emancipation from the Jews. The Jew is in fact, in the current state of the world, already more than emancipated. He rules.”

While stressing the harmful effects of the Jewish financial domination of German society, Wagner believed that the Jewish manipulation of language and art was infinitely more pernicious than their control over money. In his essay “What is German?” (1878, but based on a draft written in the 1860s) he states that culture, not economy, lies at the heart of German identity, and that Jews had bought the German soul and turned German Kultur into a sham, a mere image; and in doing this had destroyed “one of the finest natural dispositions in all the human race.”[21]

Wagner believed that the German people had been endowed with a uniquely rich inner life which had been forged during the crucible of the Thirty Years War. The body of the nation had almost been annihilated, “but the German spirit had passed through,” and amidst the physical ruins the Germans once again realized they were a nation of the spirit. This spirit had been preserved in the music of Johann Sebastian Bach, and the German spiritual mission in the world was to proclaim “that the Beautiful and the Noble came not into the world for sake of profit, nay, not for the sake of even fame and recognition.”[22] Wagner thus viewed the new festival theater he built in the Bavarian town of Bayreuth in 1876 as the Grail Castle of a reborn, spiritual Germany. Far from the cosmopolitan theaters operated by city-dwelling Jews, Bayreuth would allow the German nation to regain a sense of its true self by experiencing the mythic force of its own ancient epic — the Nibelungen. Through Bayreuth, Wagner wanted to reclaim German art and culture from that “race of mediators and negotiators whose influence was . . . to spread its truly ‘international’ power more and more widely over Germany.”[23]

Wagner repeatedly observed (and lamented) the fact that the Jews had stormed the fortress of German high culture, especially its music, and had successfully “brought the public art-taste of our time between the busy fingers of the Jew.”[24] A host of Jewish middlemen had gained a damaging hold over the critical press, publishing, theaters, operas, orchestras, art galleries and agencies. This Jewish cultural ascendancy in Germany was, of course, to reach its zenith in the Weimar Republic. Despite his stated views, Wagner twice refused to sign the “Anti-Semites Petition” of 1880 (presented to Bismarck) which complained about the very economic domination that so troubled him. The Petition, which quickly won 225,000 signatures, stated:

Wherever Christian and Jew enter into social relations, we see the Jew as master, the indigenous Christian population in a subservient position. The Jew takes part only to a negligible extent in the heavy labor of the great mass of the nation. But the fruits of his [the German’s] labor are reaped mainly by the Jew. By far the largest part of the capital which national labor produces is in Jewish hands. . . . Not only do the proudest palaces of our large cities belong to Jewish masters whose fathers and grandfathers, huckstering and peddling, crossed the frontiers into our fatherland, but rural holdings too, that most significant preservative basis of our political structure fall more and more into the hands of the Jews. . . . What we strive for is solely the emancipation of the German Volk from a form of alien domination which it cannot endure for any length of time.[25]   

Cosima Wagner gave several explanations for her husband’s refusal to sign the petition, among them that he had already done as much as he could for the cause, that a petition he had signed against vivisection had failed, and that the new appeal was addressed in servile language to Bismarck, who by this time Wagner loathed.[26] Wagner deplored the “Jewishness” of the new German empire, which he thought, thanks to Bismarck, had turned out to be a real-politischer state, rather than a truly German one. In 1878, Wagner wrote that “Bismarck is creating German unity, but he has no conception of its nature . . . His conduct is a disgrace for Germany . . . his decisions have brought forth from the Jews a petition of thanks.” When Bismarck spoke out against the Anti-Semites Petition it only confirmed Wagner in his conviction that Bismarck had “a pact with the Jews.”[27]

For Roger Scruton, it was Wagner’s determination to use his art to escape from the increasingly commercialized world of art he detested, a world “where value is price and price is value,” and where entertainment is considered more important than art, that is central to his genius. Wagner escaped “to a garret, high above the market place” in conscious reaction against the sentimentality and disingenuousness of the art and music at his time.

The operas of Wagner attempt to dignify the human being in something like the way he might be dignified by an uncorrupted common culture. Acutely conscious of the death of God, Wagner proposed man as his own redeemer and art as a transfiguring rite of passage to a higher world. The suggestion is visionary, and its impact on modern culture so great that the shockwaves are still overtaking us. . . . In the mature operas of Wagner our civilization gave voice for the last time to its idea of the heroic, though music that strives to endorse that idea to the full extent of its power. And because Wagner was a composer of supreme genius, perhaps the only one to have taken forward the intense inner language forged by Beethoven and to have used it to conquer the psychic spaces that Beethoven shunned, everything he wrote in his mature idiom has the ring of truth, and every note is both absolutely right and profoundly surprising.[28]    

Wagner fled from the commercialized world of art into the inner realm of the imagination. He believed that the idealism and heroism of a bygone age could be rekindled to dwell among us again. He strove to create a new music public that would not just identify with the Germanic heroic ideal, but embrace it as part of an idealistic nationalism that eschewed the bourgeois values of the mid-nineteenth century. In this endeavor, he strived to connect at an emotional rather than a rational level with his audience. As Wagner once wrote of his Ring cycle: “I shall within these four evenings succeed in artistically conveying my purpose to the emotional — not the critical — understanding of the spectators.”[29] This was in keeping with his dictum that art should be “the presentation of religion in a lively form.”

It was precisely this quality in Wagner’s works that most repelled the Frankfurt School music theorist and critic Theodor W. Adorno, who likened Wagner’s famous system of leitmotifs to advertising jingles in the way they imprinted themselves on the memory. For Adorno, Wagner’s musical innovations led to feelings of disorientation and intoxication that seduced audiences and rendered them docile and dangerously susceptible to political persuasion. In every crowd applauding a Wagnerian work, Adorno insisted, lurked “the old virulent evil” of “demagogy.” Elizabeth Whitcombe notes that:

Adorno believed that Wagner’s work is “proselytizing” and “collective-narcissistic.” Adorno’s complaint about the “collective-narcissistic” quality of Wagner’s music is really a complaint that Wagner’s music appeals to deep emotions of group cohesion. Like the Germanic myths that his music was often based on, Wagner’s music evokes the deepest passions of ethnic collectivism and ethnic pride. In Adorno’s view, such emotions are nothing more than collective narcissism, at least partly because a strong sense of German ethnic pride tends to view Jews as outsiders — as “the other.” It is also not surprising that Adorno, as a self-consciously Jewish intellectual, would find such music abhorrent.[30] 

Adorno’s jaundiced assessment of Wagner was encapsulated in Woody Allen’s quip that: “When I hear Wagner I have the irresistible urge to invade Poland.” Scruton points out that Wagner’s attempt to engage his audiences at the emotional level of religion (which so perturbed Adorno) was already doomed when Wagner first conceived it. The main problem being that:

[Wagner’s] sacerdotal presumptions have never ceased to alienate those who feel threatened by his message. Hence modern producers, embarrassed by dramas that make a mockery of their way of life, decide in their turn to make a mockery of the dramas [in so-called Regietheater/Eurotrash productions]. Of course, even today, musicians and singers, responding as they must to the urgency and sincerity of the music, do their best to produce the sounds that Wagner intended. But the action is invariably caricatured, wrapped in inverted commas, and reduced to the dimensions of the television sitcom. Sarcasm and satire run riot on the stage, not because they have anything to prove or say in the shadow of this unsurpassably noble music, but because nobility has become intolerable. The producer strives to distract the audience from Wagner’s message, and to mock every heroic gesture, lest the point of the drama should finally come home.

As Michael Tanner has argued, in his succinct and penetrating defense of the composer, modern productions attempt to “domesticate” Wagner, to bring his dramas down from the exalted sphere in which the music places them, to the world of human trivia, usually in order to make a “political statement” which, being both blatant and banal, succeeds only in cancelling the rich ambiguities of the drama. In contemporary Wagner productions we see exactly what the transition from modernism to the “post-modern” world involves, namely, the final rejection of high culture as a redemptive force and the ruination of the sacred in its last imagined form.[31]

In the conclusion to Judaism and Music, Wagner asserts of the Jews that “only one thing can redeem you from the burden of your curse: the redemption of Ahasverus — going under!”[32] Although this has been taken by some commentators to denote actual physical annihilation, in the context of the essay it refers to the eradication of Jewish separateness and traditions. Wagner advises Jews to follow the example of the German-Jewish political writer and satirist Ludwig Börne by abandoning Judaism. In this way Jews will take part in “this regenerative work of deliverance through self-annulment; then we are one and un-dissevered!” Wagner was calling for the assimilation of Jews into mainstream German culture and society. He thus offered to take Hermann Levi, the first conductor of his last opera Parsifal, to be baptised. Under the influence of Darwinian thinking (promoted in Germany by Ernst Haeckel), Wagner later came to favor expulsion over conversion, and thus paralleled the trajectory of German anti-Semitism over the course of the nineteenth century, which “shifted from demands for Jewish assimilation by intellectuals such as Kant and the young Hegelians in the early part of the century, to an increasing emphasis on the ethnic divide separating Germans and Jews.”[33]

Wagner republished Judaism in Music under his own name in 1869 with an extended introduction, leading to several protests by Jews at the first performances of Die Meistersinger von Nürnberg. In the introduction he writes that: “Whether the downfall of our culture can be arrested by a violent ejection of the destructive foreign element I am unable to decide, since that would require forces with whose existence I am unacquainted.”[34] This second edition of Judaism in Music was published in the same year as Wilhelm Marr’s influential Der Sieg des Judenthums über das Germanenthum (The Victory of Jewishness over Germanism). Historian Richard Evans claims that by the end of the 1870s Wagner had read Wilhelm Marr’s essay and had “broadly agreed with it.”[35] In 1878 Wagner confessed that “It is distressing to me always to come back to the theme of the Jews. But one cannot escape it if one looks to the future.”[36] In his late essay “Religion and Art” (1881), he described the Jews as “the plastic demon of the decline of mankind,” and declared: “I regard the Jewish race as the born enemies of humanity and everything that is noble in it; it is certain we Germans will go under before them, and perhaps I am the last German who knows how to stand up as an art-loving man against the Judaism that is already getting control of everything.”[37]

Notes

[1] Paul Lang, Music in Western in Western Civilisation (London: J. M. Dent, 1963), 878.

[2] Bryan Magee, Aspects of Wagner (Oxford: Oxford University Press, 1988), 56.

[3] Quoted in Martin Kitchen, The Cambridge Illustrated History of Germany (London: Cambridge University Press, 2000), 195.

[4] William Berger, Wagner Without Fear: Learning to Love – and Even Enjoy – Opera’s Most Demanding Genius (New York: Viking, 1998), 373.

[5] Adrian Mourby, “Can we forgive him?,” The Guardian, July 21, 2000, http://www.guardian.co.uk/friday_review/story/0,3605,345459,00.html

[6] Kevin MacDonald, Separation and Its Discontents: Toward An Evolutionary Theory of Anti-Semitism (1st Books Library, 2004), 60.

[7] Richard Wagner, “Judaism in Music,” trans. by William Ashton Ellis, In: Richard Wagner’s Prose Works Vol. 3 (London: 1894; repr. 1966), 79-100, http://www.jrbooksonline.com/PDF_Books/JudaismInMusic.pdf

[8] Ibid.

[9] Bryan Magee, Wagner and Philosophy (London: Penguin, 2001), 349.

[10] Wagner, “Judaism in Music,” Ibid.

[11] MacDonald, Separation and Its Discontents, 184.

[12] Wagner, “Judaism in Music,” Ibid.

[13] Magee, Aspects of Wagner, 27.

[14] Jonathan Carr, The Wagner Clan (London: Faber and Faber, 2007), 83-84.

[15] David Rodwin, “Wagner Was Right: Eclecticism and the Jewish Aesthetic,” http://www.youtube.com/watch?v=RkfGEqo3YjQ

[16] Quoted in MacDonald, Separation and Its Discontents, 98.

[17] Magee, Aspects of Wagner, 24.

[18] Paul Lawrence Rose, German Question/Jewish Question: Revolutionary Anti-Semitism from Kant to Wagner (Princeton, New Jersey: Princeton University Press, 1992), 360.

[19] Wagner, “Judaism in Music,” Ibid.

[20] Richard Wagner, letter of April 1851 trans. by W. Ashton Ellis, In: Correspondence of Wagner and Liszt 1841-1853 (London: 1897; repr. 1973), 145.

[21] Richard Wagner, “What is German?” trans. by William Ashton Ellis, In: Richard Wagner’s Prose Works Vol. 4 (London: 1894; repr. 1966), 151-69, http://users.belgacom.net/wagnerlibrary/prose/wagwiger.htm

[22] Ibid. (Italics in the original)

[23] Rose, German Question/Jewish Question, 376.

[24] Wagner, “Judaism in Music,” Ibid.

[25] Quoted in MacDonald, Separation and Its Discontents, 52.

[26] Jonathan Carr, The Wagner Clan, 75.

[27] Rose, German Question/Jewish Question, 372.

[28] Roger Scruton, Modern Culture (London: Continuum, 2000), 69.

[29] Richard Wagner, “A Communication to my Friends,” trans. by William Ashton Ellis, In: Richard Wagner’s Prose Works Vol. 1 (London: 1895; repr. 1966) 269-392, http://users.belgacom.net/wagnerlibrary/prose/wagcomm.htm

[30] Elisabeth Whitcombe, “Adorno as Critic: Celebrating the Socially Destructive Force of Music,” The Occidental Observer, August 28, 2009, http://www.theoccidentalobserver.net/2009/08/adorno-as-critic/

[31] Scruton, Modern Culture, 69.

[32] Wagner, “Judaism in Music,” Ibid.

[33] MacDonald, Separation and Its Discontents, 165.

[34] Richard Wagner, “Some Explanations Concerning ‘Judaism in Music,’” trans. by William Ashton Ellis, In: Richard Wagner’s Prose Works Vol. III (London: 1894; repr. 1966), 77-122, http://users.belgacom.net/wagnerlibrary/prose/wagjuda2.htm

[35] Richard Evans, The Coming of the Third Reich (New York: Penguin, 2005), 33.

[36] Rose, German Question/Jewish Question, 377-78.

[37] Richard Wagner, “Religion and Art,” trans. by William Ashton Ellis, In: Richard Wagner’s Prose Works, Vol. 6 (London: 1897; repr. 1966), 211-52, http://users.belgacom.net/wagnerlibrary/prose/wlpr0126.htm

 

Related

  • Remembering Charles Krafft: September 19, 1947–June 12, 2020

  • Remembering Francis Parker Yockey: September 18, 1917–June 16, 1960

  • Remembering D. H. Lawrence: September 11, 1885–March 2, 1930

  • Metapolitics in Germany, Part 1: An Exclusive Interview with Frank Kraemer of Stahlgewitter

  • Remembering Arthur Jensen (August 24, 1923–October 22, 2012)

  • Remembering Leni Riefenstahl (August 22, 1902–September 8, 2003)

  • Mysteries: Knut Hamsun’s Brilliant Misfire

  • Thoughts on an Unfortunate Convergence: Doctors, Lawyers, and Angry Women

Tags

Brenton Sandersonclassical musiccommemorationsoperaRichard Wagnerthe Jewish questionTheodor AdornoWagner Bicentennial Symposium

Next

» Wagner Bicentennial Symposium  
The Monster

2 comments

  1. Kurwenal says:
    May 15, 2013 at 4:27 pm

    “This theory sits rather incongruously alongside the fact that when the National Socialists came to power in 1933 Parsifal was condemned as “ideologically unacceptable,” and for reasons never openly stated was banned throughout Germany after 1939.[8]” (from Part 3).

    This is just not true. Consider the following:

    1.- Knappertsbusch was recording Parsifal in Berlin in 1943:
    http://www.amazon.com/Knappertsbusch-Conducts-Complete-Richard-Parsifal/dp/B00BK0KB3K/ref=sr_1_7?ie=UTF8&qid=1368646216&sr=8-7&keywords=knappertsbusch%2C+parsifal%2C+berlin

    2.- Hitler himself played an active role in the staging of Parsifal for the Bayreuth Festivals, both in 1934, favouring the employment of Alfred Roller, whose work in Vienna had been admired by the young Adolf; and then, in 1937, when the grandson of the composer, Wieland Wagner, signed his first production on the Green Hill.

    3.- The great musicologist Alfred Lorenz (member of the NSDAP) was publishing articles during the III Reich with titles such as “Parsifal als Übermensch” (Parsifal as Superman).

    Magee is probably quoting Frederic Spotts here. His “Bayreuth. A History of the Wagner Festival” is a pleasant introduction to the topic, but inaccurate or dishonest in all matters concerning the III Reich, Hitler and Wagner. After 1945, Wagner can only be dealt with in two ways: either denigrating him in the way Brenton Sanderson presents here or stating unambiguosly from the first page that he has nothing whatsoever to do with National Socialism.

    Magee’s intentions are good and he is correct in showing the impudence and egomaniac paranoia of all these Jewish intellectuals, but the fact is that “Parsifal” – the Aryan Christ purified of all Judaic dregs – is not only anti-Jewish but anti-Christian as well: its avowed intention to “redeem the redeemer” is scandalous from a Christian perspective and its representation intends to short-circuit and transfigure the Christian myth in the spirit of the spectator in order the better to express values which are diametrically opposed to those advocated by all Christian denominations.

    Magee is probably quoting

    0
    0

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • The Worst Week Yet: September 17-23, 2023

      Jim Goad

      22

    • Paper Boy: The Life and Times of an Ink-Stained Wretch

      Steven Clark

    • Richard Hanania’s The Origins of Woke

      Matt Parrott

      3

    • The Matter with Concrete, Part 1

      Michael Walker

    • The Virgin Queen Chihuahua Has Spoken!

      Jim Goad

      4

    • Pox Populi and Endeavour on the Latest Migrant Invasion

      Greg Johnson

    • Crowdsourcing Contest! Our Banner

      A. C. C. Reader

      39

    • Adult Cartoons Are a Disaster for Western Civilization, Part 2

      Travis LeBlanc

      17

    • Having It All: America Reaps the Benefits of Feminism

      Beau Albrecht

      5

    • The Captivity Narrative of Fanny Kelly

      Spencer J. Quinn

      7

    • The Virgin Queen Chihuahua Has Spoken!

      Jim Goad

      51

    • Adult Cartoons Are a Disaster for Western Civilization, Part 1

      Travis LeBlanc

      40

    • Plastic Patriotism: Propaganda and the Establishment’s Crusade Against Germany and German-Americans During the First World War

      Alex Graham

      8

    • Race and IQ Differences: An Interview with Arthur Jensen, Part 2

      Arthur Jensen

      1

    • Donald Trump: The Jews’ Psycho Ex-Girlfriend

      Travis LeBlanc

      13

    • Bad to the Spone: Charles Krafft’s An Artist of the Right

      Gunnar Alfredsson

      1

    • Independence Day

      Mark Gullick

    • The Unnecessary War

      Morris van de Camp

      1

    • Bad Cop! No Baklava!

      Beau Albrecht

      7

    • Counter-Currents Radio Podcast No. 552 Millennial Woes on Corporations, the Left, & Other Matters

      Counter-Currents Radio

      6

    • Remembering Charles Krafft: September 19, 1947–June 12, 2020

      Greg Johnson

    • Marx vs. Rousseau

      Stephen Paul Foster

      4

    • The Worst Week Yet: September 10-16, 2023

      Jim Goad

      22

    • The Tinkling Cherub of Mississippi

      Beau Albrecht

      2

    • A Deep Ecological Perspective on the Vulnerability of Eurodescendants

      Francisco Albanese

      3

    • Remembering Francis Parker Yockey: September 18, 1917–June 16, 1960

      Greg Johnson

      1

    • The Counter-Currents 2023 Fundraiser: Idealism Alone Can’t Last Forever

      Pox Populi

      3

    • Ask Me Anything with Millennial Woes

      Greg Johnson

    • Most White Republicans at Least Slightly Agree with the Great Replacement Theory

      David M. Zsutty

      13

    • Field of Dreams: A Right-Wing Film?

      Morris van de Camp

      2

    • Rich Snobs vs. Poor Slobs: The Schism Between “Racist” Whites

      Jim Goad

      99

    • Memories of Underdevelopment: Revolution & the Bourgeois Mentality

      Steven Clark

      2

    • Diversity: Our Greatest Strength?

      Greg Johnson

      2

    • Jon Stewart’s Irresistible: An Election in Flyover Country

      Beau Albrecht

      2

    • Apocalyptic Summertime Fun

      Gunnar Alfredsson

      1

    • Genius Loci: The Rise and Fall of the Great Comedian Peter Cook

      Mark Gullick

      12

    • Counter-Currents Radio Podcast No. 551: Ask Me Anything with Matt Parrott

      Counter-Currents Radio

      2

    • It’s Time to Wind Down the Empire of Nothing

      Morris van de Camp

      1

    • Should Whites Turn Their Backs on the US Military? A Response to Padraig Martin of Identity Dixie

      Spencer J. Quinn

      47

    • Counter-Currents Radio Podcast No. 550: Catching Up with Matt Parrott

      Counter-Currents Radio

      5

    • Race and IQ Differences: An Interview with Arthur Jensen, Part 1

      Arthur Jensen

    • Otázka ženského masochismu

      F. Roger Devlin

    • The Worst Week Yet: September 3-9, 2023

      Jim Goad

      33

    • Robert F. Kennedy, Jr.’s The Real Anthony Fauci, Part Two: The HIV Swindle

      Jef Costello

      33

    • Born Innocent

      Travis LeBlanc

      6

    • The Counter-Currents 9/11 Symposium

      Greg Johnson

    • Remembering D. H. Lawrence: September 11, 1885–March 2, 1930

      Greg Johnson

      4

    • Nothing KKKompares to the KKK

      Jim Goad

    • Catching Up with Matt Parrott

      Greg Johnson

    • Sexuální utopie v praxi, část 4

      F. Roger Devlin

  • Classics Corner

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 1

      Greg Johnson

      22

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 2

      Greg Johnson

      3

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 3

      Greg Johnson

      13

    • Remembering H. Keith Thompson
      September 17, 1922–March 3, 2002

      Kerry Bolton

      1

    • Be All You Can Be: On Joining the Military

      Ash Donaldson

      22

    • Transcript of FOX News’ Banned Report on Israel & 9/11

      Spencer J. Quinn

    • The Banned FOX News Report on Israel’s Role in 9/11

      Spencer J. Quinn

      12

    • The Psychology of Conversion

      Greg Johnson

      43

    • Animal Justice?

      Greg Johnson

      18

    • Uppity White Folks and How to Reach Them

      Greg Johnson

      6

    • Lord Kek Commands!
      A Look at the Origins of Meme Magic

      James J. O'Meara

      7

    • Major General J. F. C. Fuller
      (September 1, 1878–February 10, 1966)

      Anonymous

      5

    • Remembering Johann Gottfried von Herder
      (August 25, 1744–December 18, 1803)

      Martin Lichtmesz

      2

    • Moral Seriousness

      Greg Johnson

      13

    • Columbus Day Special
      The Autochthony Argument

      Greg Johnson

      8

    • Remembering Knut Hamsun
      (August 4, 1859–February 19, 1952)

      Greg Johnson

      8

    • Sir Reginald Goodall: An Appreciation

      Greg Johnson

      3

    • 7-11 Nationalism

      Richard Houck

      28

    • Philip K. Dick’s Do Androids Dream of Electric Sheep? as Anti-Semitic/Christian-Gnostic Allegory

      Greg Johnson

      7

    • Eraserhead:
      A Gnostic Anti-Sex Film

      Trevor Lynch

      17

    • Remembering Revilo Oliver
      (July 7, 1908–August 20, 1994)

      Greg Johnson

      17

    • Lars von Trier & the Men Among the Ruins

      John Morgan

      16

    • Heidegger without Being

      Greg Johnson

      17

    • Junetarded Nation

      Jim Goad

      8

    • Counter-Currents Radio Podcast No. 338
      Ted Talk

      Counter-Currents Radio

      3

    • Hegemony

      Greg Johnson

      11

    • Cù Chulainn in the GPO:
      The Mythic Imagination of Patrick Pearse

      Michael O'Meara

      5

    • Remembering Dominique Venner
      (April 16, 1935 – May 21, 2013)

      Greg Johnson

      11

    • A Robertson Roundup: 
      Remembering Wilmot Robertson
      (April 16, 1915 – July 8, 2005)

      Margot Metroland

      13

    • Metapolitics and Occult Warfare

      Greg Johnson

      2

  • Paroled from the Paywall

    • A Call For White Identity Politics: Ed Brodow’s The War on Whites

      Dave Chambers

      6

    • The Fiction of Harold Covington, Part One

      Steven Clark

      21

    • Death by Hunger: Two Books About the Holodomor

      Morris van de Camp

      4

    • A Child as White as Snow

      Mark Gullick

      6

    • Jonathan Bowden’s Final Lecture on Video: Charles Maurras, Action Française, and the Cagoule

      Jonathan Bowden

      1

    • Who Was Lawrence R. Brown? Biographical Notes on the Author of The Might of the West

      Margot Metroland

      16

    • California Discontent, Part 2: Frank Norris’ The Octopus

      Steven Clark

      1

    • California Discontent, Part 1: John Steinbeck’s East of Eden

      Steven Clark

    • 12 More Sex Differences Due to Nature

      Richard Knight

      4

    • Counter-Currents Radio Podcast No. 545 Pox Populi and Morgoth on the Age of Immigration and More 

      Counter-Currents Radio

    • When White Idealism Goes Too Far: Saints of the American Wilderness

      Spencer J. Quinn

      10

    • A Compassionate Spy?

      Beau Albrecht

      11

    • Counter-Currents Radio Podcast No. 544 Pox Populi, American Krogan, & Endeavour on the Metaverse

      Counter-Currents Radio

    • Nietzsche and the Psychology of the Left, Part Two

      Collin Cleary

      2

    • Thoughts on an Unfortunate Convergence: Doctors, Lawyers, and Angry Women

      Stephen Paul Foster

      5

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 3: What Is Liberalism?

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 2: What Is Liberalism?

      Alain de Benoist

      1

    • Against Liberalism: Society Is Not a Market, Chapter I, Part 1: What Is Liberalism?

      Alain de Benoist

      1

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part IV

      Kenneth Vinther

      2

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part III

      Kenneth Vinther

      1

    • Counter-Currents Radio Podcast No. 543 Greg Johnson on Plato’s Gorgias, Lecture 4

      Counter-Currents Radio

    • Misrepresentative Government: Why Democracy Doesn’t Work, Part I

      Kenneth Vinther

      1

    • Jack London’s The Iron Heel as Prophecy, Part 2

      Beau Albrecht

    • The Scottish Mr. Bond? An Interview with Mystic

      Travis LeBlanc

      2

    • Counter-Currents Radio Podcast No. 542 Greg Johnson on Plato’s Gorgias, Lecture 3

      Counter-Currents Radio

    • The Bard Across Three Reichs: Germany, Shakespeare, and Andreas Höfele’s No Hamlets, Part II

      Kathryn S.

      4

    • The Bard Across Three Reichs: Germany, Shakespeare, and Andreas Höfele’s No Hamlets, Part I

      Kathryn S.

      3

    • Against Liberalism: Society Is Not a Market, Introduction, Part III

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Introduction, Part II

      Alain de Benoist

    • Against Liberalism: Society Is Not a Market, Introduction, Part I

      Alain de Benoist

      1

  • Recent comments

    • Shift

      The Worst Week Yet: September 17-23, 2023

      Howard Stern and Donald Trump have a lot in common.  Howard Stern, Donald Trump, Elvis Presley, Jim...

    • Edmund

      Crowdsourcing Contest! Our Banner

      I've done it. That is, convert non-conservative secular whites into my way of thinking. I admit, it'...

    • Jim Goad

      The Virgin Queen Chihuahua Has Spoken!

      A quick search of “Nick Fuentes” and “working class” on Google yielded this video. Yeah, it’s from “...

    • ShadowPal

      The Worst Week Yet: September 17-23, 2023

      I remember a few episodes of Howard Stern's show. One episode had a game show with black contestants...

    • Weave

      Adult Cartoons Are a Disaster for Western Civilization, Part 1

      Did you make an effort to stop swearing? I keep trying to stop, but traffic gets me every time.

    • Margot Metroland

      Christopher Rufo on White Identity Politics

      Indeed, and that's my usual mainstream-normie reaction. We can't let the perfect be the enemy of the...

    • Jim Goad

      The Worst Week Yet: September 17-23, 2023

      Since this lists her age as 30, and since It's Always Sunny premiered in 2005, it's not possible she...

    • cad

      Adult Cartoons Are a Disaster for Western Civilization, Part 2

      There is the recent McDonald's meme, of a post from a Japanese McD vs. one from America, one showing...

    • Josephus Cato

      The Virgin Queen Chihuahua Has Spoken!

      What are he specific examples of him attacking working class whites?

    • Tube Compressor

      The Virgin Queen Chihuahua Has Spoken!

      I don't think anyone could have done a better job mocking this joke better than Jim Goad. Nick is...

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      This reminds me of another Sunny episode, where Frank's love interest in the 70s was a black disco...

    • Jim Goad

      The Worst Week Yet: September 17-23, 2023

      Mỹ hunch is that "Sharday" was a phoneticized version of the singer Sade's name.

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      Is it possible that "Sharday McDonald's" parents named her after the characters on their favorite TV...

    • James J. O'Meara

      The Worst Week Yet: September 17-23, 2023

      That was Peak Stern and also Peak Broadcast TV. He claimed his WOR show was popular with blacks...

    • Sinope Cynic

      The Worst Week Yet: September 17-23, 2023

      What is your point? "Christianity would never have been without whites, and whites were destroyed by...

    • Jim Goad

      Crowdsourcing Contest! Our Banner

      and yes, that includes demonstrating theologically the compatibility between white preservationism...

    • Jim Goad

      Crowdsourcing Contest! Our Banner

      My experience and belief is that the defining element of today’s Left is its all-encompassing...

    • Lord Shang

      The Worst Week Yet: September 17-23, 2023

      "Pope Fidel, I mean Francis ..." - how Trump should preface any rejoinder to any debate question or...

    • Mike Bennett

      The Worst Week Yet: September 17-23, 2023

      This filthy garbage “Pope” , that the (cough, cough!)“Globalists dumped on us,  should realize that...

    • Dain Smocks

      The Virgin Queen Chihuahua Has Spoken!

      Jim has the right to respond to Nick. If you think Jim provoked Nick, well that's just too bad, the...

  • Book Authors

    • Beau Albrecht
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Collin Cleary
    • Jef Costello
    • Savitri Devi
    • F. Roger Devlin
    • Buttercup Dew
    • Julius Evola
    • Jim Goad
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Greg Johnson
    • Charles Krafft
    • Anthony M. Ludovici
    • Trevor Lynch
    • H. L. Mencken
    • J. A. Nicholl
    • James J. O’Meara
    • Christopher Pankhurst
    • Tito Perdue
    • Michael Polignano
    • Spencer J. Quinn
    • Fenek Solère
    • Irmin Vinson
    • Leo Yankevich
    • Francis Parker Yockey
    • Multiple authors
  • Webzine Authors

    Editor-in-Chief

    • Greg Johnson, Ph.D.

    Featured Writers

    • Beau Albrecht
    • Morris V. de Camp
    • Stephen Paul Foster, Ph.D.
    • Jim Goad
    • Alex Graham
    • Mark Gullick, Ph.D.
    • Greg Johnson, Ph.D.
    • Spencer J. Quinn

    Frequent Writers

    • Aquilonius
    • Anthony Bavaria
    • Alain de Benoist
    • Kerry Bolton, Ph.D.
    • Collin Cleary, Ph.D.
    • Jef Costello
    • F. Roger Devlin, Ph.D.
    • Richard Houck
    • Ondrej Mann
    • Margot Metroland
    • John Morgan
    • Trevor Lynch
    • James J. O’Meara
    • Kathryn S.
    • Thomas Steuben
    • Michael Walker

    Classic Authors

    • Maurice Bardèche
    • Jonathan Bowden
    • Julius Evola
    • Guillaume Faye
    • Ernst Jünger
    • Kevin MacDonald, Ph.D.
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Dominique Venner
    • Leo Yankevich
    • Francis Parker Yockey

    Other Authors

    • Howe Abbott-Hiss
    • Michael Bell
    • Buttercup Dew
    • Giles Corey
    • Bain Dewitt
    • Jack Donovan
    • Richardo Duchesne, Ph.D.
    • Emile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Fullmoon Ancestry
    • Tom Goodroch
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Alexander Jacob
    • Nicholas Jeelvy
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • G A Malvicini
    • John Michael McCloughlin
    • Millennial Woes
    • Michael O’Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Herve Ryssen
    • Alan Smithee
    • Fenek Solere
    • Ann Sterzinger
    • Robert Steuckers
    • Tomislav Sunic
    • Donald Thoresen
    • Marian Van Court
    • Irmin Vinson
    • Aylmer Wedgwood
    • Scott Weisswald
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Spencer J. Quinn Above Time Coffee Antelope Hill Publishing Identaria Paul Waggener IHR-Store Asatru Folk Assembly No College Club American Renaissance The Patrick Ryan Show Jim Goad The Occidental Observer
Donate Now Mailing list
Books for sale
  • The Trial of Socrates
  • Fields of Asphodel
  • El Manifiesto Nacionalista Blanco
  • An Artist of the Right
  • Ernst Jünger
  • Reuben
  • The Partisan
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • End of an Era: Mad Men & the Ordeal of Civility
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • I do not belong to the Baader-Meinhof Group
  • Pulp Fascism
  • The Lost Philosopher
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
Copyright © 2023 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment