Philosopher Marcel Hébert developed his Religious Experience in the Work of Richard Wagner (1895) from this background of sustained popular interest in Wagner, an interest that had intensified with the return of his operas to the Paris stage. Newspaper debates about the impact of Wagner's ideas on French society often stressed the links between Wagner and religion. These debates inspired works like Hébert's, intended to explain the complex myth and allegory in Wagner's work and to elucidate it for a new generation of French spectators.

This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.

"One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, and turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symhonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm. This edition includes the complete volume 6 of the 1897 translation of Wagner's works commissioned by the London Wagner Society. William Ashton Ellis is one of the most important translators of nineteenth-century musicology. In addition to his monumental translation of Wagner's prose works, he translated Wagner's correspondence with Franz Lizst, Mathilde Wesendonck, and Wagner's own family. Ellis died in 1919.

Wagner's Ring addresses fundamental concerns that have faced humanity down the centuries, such as power and violence, love and death, freedom and fate. Further, the work seems particularly relevant today, addressing as it does the fresh debates around the created order, politics, gender, and sexuality. In this second of two volumes on the theology of the Ring, Richard Bell argues that Wagner's approach to these issues may open up new ways forward and offer a fresh perspective on some of the traditional questions of theology, such as sacrifice, redemption, and fundamental questions about God. A linchpin for Bell's approach is viewing the Ring in the light of the Jesus of Nazareth sketches, which, he argues, confirms that the artwork does indeed address questions of Christian theology, both for those inside and those outside the church.

Wagner’s Ring is one of the greatest of all artworks of Western civilization, but what is it all about? The power and mystery of Wagner’s creation was such that even he felt he stood before his work ‘as though before some puzzle’. A clue to the Ring’s greatness lies in its multiple avenues of self-disclosure and the corresponding plethora of interpretations that over the years has granted ample scope for directors, and will no doubt do so well into the distant future. One possible interpretation, which Richard Bell argues should be taken seriously, is the Ring as Christian theology. In this first of two volumes, Bell considers, among other things, how the composer’s Christian interests may be detected in the ‘forging’ of his Ring, in his appropriation of sources (whether they be myths and sagas, writers, poets, or philosophers), and in works composed around the same time, especially his Jesus of Nazareth.

An in-depth examination of Richard Wagner, this text explores his religious, spiritual and mystic thoughts, so as to provide the reader with a better understanding of his prose and artistic works.

Covering religious traditions ranging from Buddhism to Christianity to Zoroastrianism and modern apocalyptic movements such as Arun Shinrikyo and the Branch Davidians, this book addresses prophesied end of days from a breadth of perspectives and includes material on often-neglected themes and genres. End of Days: An Encyclopedia of the Apocalypse in World Religions describes apocalyptic writings in the world's major religious traditions, including Judaism, Christianity, Islam, Hinduism, and Buddhism. The cross-referenced entries address ancient traditions—Zoroastrianism, as one example—as well as modern apocalyptic movements, such as Arun Shinrikyo, the Branch Davidians, and the Order of the Solar Temple. This book's broad scope offers coverage of overlooked traditions, such as Mayan Apocalyptic, Norse Apocalyptic, Native American eschatological literatures, and the Tibetan Book of the Dead. Readers seeking detailed information on the eschatological and apocalyptic movements and proponents of End Times can reference entries about individuals such as Harold Camping, Jerry Falwell, David Koresh of the Brand Davidians, and James Jones and the People's Temple. This single-volume encyclopedia also contains numerous historical entries on subjects such as the Great Disappointment, the Great Awakening periods of religious revival, Joachim of Flora, the Maccabean Revolt, and the Plymouth Brethren. The influence of apocalyptic ideas far outside the realm of religion itself is documented through entries on film, including well-known modern movies such as The Hunger Games and Apocalypse Now, literature by writers such as Dante, and works of fine art like Wagner's Götterdämmerung. The inclusion of entries related to literature, film, and other art forms further attests to the wide-ranging social influence of belief in the end of days.