Richard Wagner -- Composer, Music-Dramatist, Author
Michael D. Robbins © 2002
May 22, 1813, Leipzig, Germany, about 4:00 AM, LMT. There is a rectification
to 4:11 AM LMT by Bailey from "sunrise" given in a biography
by A. Ellis. Appears in BJA 10/1928. The author proposes consideration
of another rectified time of 4:02:35 AM. Several charts are shown, each
having different features worthy of consideration.
Listed above are four charts for Richard Wagner. They are as follows:
1.
The chart for 4:02:35 AM, provisionally rectified by the author, provides
an Ascendant in the last degree of Taurus and retains a Capricorn MC.
2.
The chart for 4:11 AM, rectified by E.E. Bailey in 1928 from a “sunrise”
time given in a biography on Wagner by Ellis, has a Gemini Ascendant
and a Capricorn MC.
3.
A original chart for “sunrise”, 4:00 AM has a Taurus Ascendant
and a Capricorn MC.
4.
A chart for 4:11:15 AM is offered; at this time the MC changes from
Capricorn to Aquarius. Given Wagner’s status as a musical revolutionary,
the possibility of an Aquarius MC must be examined. The Sabian Symbol
for this degree is “An Old Adobe Mission in California”
and reveals, according to Dane Rudhyar, “the power inherent in
all great human works to endure far beyond the workers’ life span”.
It further signifies “The Concretization of an Ideal”. The
aptness of this symbol is apparent given Richard Wagner’s lasting
impression upon the psyche of humanity. Again, however, if the time
is unsupported by other evidence, it cannot be used with confidence.
The ascending degree necessitated by the choice of an Aquarian MC is,
however, less appropriate, and even, inappropriate as it suggests “formalism”
rather than the expansive, romantic, revolutionary spirit.
5.
Somewhere within this time span, however, if not shortly before, Richard
Wagner was, in all probability, born.
(Some
probable and some definite positions are as follows: Ascendant, Taurus
or Gemini Midheaven, either Capricorn or Aquarius; Sun, Gemini; Moon
and Mars in Aquarius; Mercury and Venus in Taurus; Jupiter, Leo; Saturn,
Capricorn; Uranus, Scorpio; Neptune, Sagittarius; Pluto, Pisces.
The probable times of birth are within an approximately fifteen minute
range, but significant changes of the Ascendant and Midheaven occurred
within this short period.
The
major questions to be answered are the following:
1.
Was Wagner’s Ascendant Gemini or Taurus? Both of these signs are
well represented in his chart. Gemini, the Sun Sign is ruled exoterically
by Mercury and esoterically by Venus. Both Mercury and Venus, however,
are in Taurus, thus giving him a strongly Taurean coloring even if the
Ascendant were not Taurus.
2.
Should the Ascendant be Taurus, then Venus in Taurus is the exoteric
ruler. The Taurean emphasis would then be very strong. Vulcan would
be the esoteric ruler, but because of the placement of the Sun in the
first degree of Gemini, there is no immediate way to tell whether Vulcan
was to be found in Gemini or in Taurus. To detect the influence of Vulcan
in his music (which one can certainly do with reference to his powerful
use of brass and percussion) is not, necessarily, to be assured of a
Taurean Ascendant. Even if the Ascendant were Gemini, given the restriction
that Vulcan must be within eight degrees of the Sun, Vulcan placed in
Taurus would not be far from Venus in Taurus, and would thus still be
very prominent and effective. If one must choose between Vulcan in Gemini
or Taurus, there is an intuitive appeal to the Taurus position. The
great (almost overpowering) orchestral effects, the resounding brass,
and the thunderous percussion suggest Vulcan in the sonorous sign, Taurus.
3.
These two signs, Taurus and Gemini are so intertwined that it is impossible
to find a physiognomic solution; Wagner’s face reflects the presence
of both signs and would whether the Ascendant were Taurus or Gemini.
4.
Psychologically, as well, there is no way to differentiate. Wagner displayed
the brilliance and versatility of the advanced Geminian, expressing
himself outstandingly in two contrasting artistic fields—music
and the written word (as seen in his libretti, essays, autobiography
and several volumes of aesthetic philosophy, prophecy and criticism).
As well, his understanding of sound (the domain of Taurus) was masterful,
and his expression through that medium, gloriously sensuous. Sensuousness
and sensuality are a particular gift of Taurus.
5.
Wagner was a remarkable example of what the Tibetan calls the “Mercury-Venus
mind” (EA 362). Both of these planets were placed in the sign
of illumination, Taurus, and both would be emphasized regardless of
whether the Ascendant were Taurus or Gemini.
6.
One might have recourse to the Sabian Symbols as discriminators of quality,
but this approach is not entirely reliable. The Sabian Symbols, though
revelatory in many instances, are not always so, and, thus, the accuracy
of a rectification cannot be judged by them alone.
7.
Probably, then, the timing of progressions, directions and transits
must be closely studied, and within a very narrow range. Ingresses would
be especially important, and aspects to or from the progressed angles.
This, however, would require a most subtle, exacting and time-consuming
study.
8.
While either Gemini or Taurus could be justified as an Ascendant, the
question arises as to whether both Capricorn or Aquarius are justifiable
as signs qualifying the Midheaven. Wagner was a great musical revolutionary,
and there is much to suggest that revolutionary Aquarius (especially
in its first degree) would be a convincing sign to rule the MC. However,
Uranus, the planet of revolution and reformation is natally opposed
to both the Gemini Sun and Venus in Taurus, and this might be sufficient
cause for Wagner’s powers of to revolutionize the music (and musical
practices) of his era.
9.
We must also ask whether Capricorn would be a suitable sign for the
MC. Saturn would then be ruler of the MC, and Saturn is already placed
in Capricorn in the ninth house, demanding the formulation of a highly
structured world view, emphasizing duty, responsibility and professionalism,
and giving a rigidly purposeful approach to the following of his destiny
and the fulfillment of his fate. But is Capricorn a sign too conservative
to ruler the MC of an artistic revolutionary?
10.
Again we have ambiguity through a blending and merging of qualities.
Whether the MC is Capricorn or Aquarius, both Saturn and Uranus would
be powerful and influential in the chart. In either case, Wagner would
be a musical revolutionary (Uranus opposed Venus and the Sun) with a
painstakingly conceived and tightly structured (Saturn in Capricorn)
world view (ninth house).
Defense
of a Taurus Ascendant
1.
Although the time 4:00 AM seems very “rounded off”, there
is a good possibility that the birth occurred between that time and
4:02:35, a very short window—the first time resulting in the 29th
degree of Taurus rising, and the other the 30th degree.
2.
It is important to know how the Bailey rectification was accomplished.
If the Pre-Natal Epoch was used, it can be arbitrary and is not always
reliable.
3.
It is hard to ignore the probable correlation between the transit of
(then undiscovered) Pluto across the Ascendant and Wagner’s sudden
death. In the Taurus rising charts that transit had been achieved by
the date of death, and in the 4:00 AM chart Pluto rests within twenty-three
minutes of arc of the Ascendant on the day of death. In the 4:02:35
AM chart, Pluto is within thirty-four minutes of arc—both positions
of Pluto, thus being less than a degree from the Ascendant. In the 4:11
AM chart (which has the second degree of Gemini rising), however, we
find that Pluto has not yet reached the ascending degree even though
it did venture slightly into Gemini. Thus, the full death-dealing effect
would not yet be felt in either the Gemini rising chart with a Capricorn
MC or a Gemini rising chart with an Aquarius MC—and yet the death
had occurred.
4.
Given the unstable and even shocking (Uranus) quality of Wagner’s
relationship life, the closer Uranus is to the seventh house cusp, the
better. With a Taurus Ascendant, Uranus is placed in the same sign as
the one that rules the seventh house cusp—Scorpio. The effect
of Uranus upon the seventh house and all that it rules would, therefore,
be greater.
5.
The Gemini rising chart for 4:11 AM places both Venus and the Sun in
the twelfth house. Wagner’s life was both very public (first house)
and very private (twelfth, as the lives of all serious composers must
be). The Taurus Ascendant brings both Venus and the Sun into the first
house, taking them into a more expressive and less retiring position.
6.
The years beginning 1857 were very important for Wagner. He discovered
the world-renouncing philosophy of Arthur Schopenhauer, had composed
more than half of the four operas which constituted the tetralogy called
Der Ring des Niebelungen, had renounced the old operatic forms, and
was about to embark on the adventure of composing Tristan und Isolde
for which he was evolving an more advanced and complex harmonic language.
During this eventful period, as well, he fell hopelessly in love with
Mathilde Wesendonk (the wife of a rich patron) and this led to a separation
from his wife.
If
the Ascendant were late Taurus, then solar arc directed Neptune
would be making a two year ‘direction’ over Wagner’s
MC, relating him to world renunciation (Schopenhauer was a Piscean—ruled
by Neptune), to hopeless love (Neptune is the planet of disappointment),
and to the transcendental romanticism expressed in that famous yet difficult
opera about doomed love, Tristan und Isolde. Should the Ascendant be
the second degree of Gemini, as proposed by Bailey, solar arc directed
Neptune would not have been making its passage over the MC during this
period, the transiting Neptune (T-Neptune) would have been contacting
natal Pluto and Ceres by conjunction, raising issues of attachment to
and separation from that which is loved.
As
well, in middle 1857, transiting Uranus begins its conjunction of the
Ascendant. Wagner was embarking upon an entirely new tonal experiment
with his new opera. He was breaking from the past—Uranian qualities.
If the Ascendant were Gemini, it would be necessary to wait until the
middle of 1858 before the effect of Uranus began to be felt.
With
regard to the passage of Uranus over his Ascendant (and Venus) and the
concomitant upheaval in his relationship life, much would depend upon
when the affair with Mathilde Wesendonk actually began.
Whichever
the proper Ascendant, this period would have been a time of extraordinary
transformation, because Wagner’s Sun in the first degree of Gemini
would have received the conjuncting transit of Uranus in 1858 as well.
7.
Although Mercury as the ruler of Wagner’s Sun Sign, Gemini, is,
of course, tremendously important in his chart, Venus, orthodox ruler
of Taurus is even more important when considering the major value of
Wagner’s life.. The Taurus Ascendant would give even more prominence
to Venus. Of course, as the esoteric ruler of a Gemini Ascendant Venus
would also be very significant, and in a still higher way. But it is
the importance of Venus in relation to Taurus and not as the esoteric
ruler of Gemini which must be accented. If the Ascendant were Gemini,
the immediate emphasis of the chart would go to Mercury and, temporarily,
bypasses Venus (only to emphasize it on a higher turn of the spiral—but
differently). However, the extraordinary majesty, grandeur, and sensuality
of Wagner’s music (and also its sheer power) seems to require
the depth of an accentuated Taurus with its direct rather than more
remote relation to Venus.
8.
The self-admitted sensuality of Wagner’s life and his obvious
self-indulgence are more consistent with the Taurus Ascendant. He appears
to have had a strong sexuality (however infused with romantic motives),
and Taurus (with Libra and Scorpio) is a sign emphasizing sexuality.
9.
The awesome sonority of the Wagnerian orchestra is far more Taurean
than Geminian. It is doubtful that his compositions could carry such
overwhelming power if Gemini were the Ascendant as well as the Sun Sign.
10.
Wagner was often is financial difficulty. When money was available he
spent lavishly (Jupiter in Leo combined with Taurean self-indulgence).
He was always in need of more, and his problem was to substantiate and
manifest his great ideas. Substantiation is a theme related to Taurus.
11.
The Sabian Degree for the last degree of Taurus is unusually apt when
considering Wagner’s character: “A Peacock Parading on the
Terrace of an Old Castle”; “The personal display of inherited
gifts”; “Consummation”. Considering the royal patronage
lavished upon Wagner by Ludwig II of Bavaria (as well as Wagner’s
visits to Ludwig’s world-renowned castles) the symbol could hardly
be more appropriate. Moreover, as Dane Rudhyar reminds us, the “peacock
is the bird consecrated to Venus”—ruler of Taurus, and exactly
on the Ascendant if the 30th degree of Taurus is used as the ascending
degree, for Venus is also in the 30th degree.
12.
Either of the Taurus ascending degrees (the 29th or the 30th) preserve
the 28th degree of Capricorn on the Midheaven. The symbolism for this
degree is: “A Large Aviary”; “The enjoyment of spiritual
values by the soul able to familiarize itself with their implications”;
and most significantly—“Clairaudience”. Given Wagner’s
sensitivity to what might be called the higher ‘sound currents’,
or the ‘voices of angels’, this symbol too (note, another
bird symbol) is rather persuasive. Birds are related to the Deva Kingdom,
by whom Wagner was so inspired, and some of his most evocative music
portrays the singing of birds (as in the opening of the second act of
Siegfried).
13.
The Pleiades are a symbol of the “Divine Feminine”, by which
Wagner was so captivated—both personally and artistically. The
4:00 AM time places Alcyone of the Pleiades within less than a degree
from the Ascendant, the 4:02:35 AM time, within approximately a degree
and a half. A late Taurean Ascendant still maintains the Pleiadian ‘touch’,
which would be relinquished with a Gemini Ascendant. Wagner’s
great devic inspiration can be related to the influence of these beautiful
stars, for the Pleiades are closely connected to devas or angels.
14.
Wagner was, in a way, a great pantheist, and Germanic “Nature
worship” resounds through his scores. Taurus is a sign, far more
than Gemini, which places the individual in close communion with Nature
and its mysteries”. There is in Wagner’s operas the intimation
of a great Force, a natural Presence of “God” in the very
substance of our being—a Presence in matter and form more fittingly
associated with Taurus than with Gemini.
15.
The progressed Ascendant had not yet emerged into Leo in the Taurus-ascending
charts when Wagner died. It did so, however, in the 4:11 AM, Gemini
rising chart. It can be questioned whether the Leo ingress was ever
actually reached. The fourth house, and by extension, its cognate sign,
Cancer, in which the progressed Ascendant would still remain (where
the Taurus Ascendants chosen) represent the “end of life”.
16.
It can also be asked, which planet is more representative of Wagner’s
scandalous relationship life—Jupiter in Leo in the house of home,
the fourth, (which would the ruler of the seventh house cusp if Gemini
were used as the Ascendant), or aggressive Mars (ruler of Scorpio seventh
house cusp in the Taurus rising charts), prominently placed in the very
visible tenth house of reputation where scandal will out? Mars in Aquarius
(trine to Venus in late Taurus) can indicate his promiscuity and his
lack of respect for boundaries—especially in relation to the wives
of his patrons and sponsors. Even with a Scorpio Descendent, Jupiter
will necessarily be a co-ruler of the seventh house, and, through its
position in the fourth house and as ruler of the eighth house, would
relate to the patronage he received from wealthy benefactors and even
royalty (Ludwig II). But with Sagittarius as the ruler of the seventh
house cusp, Mars would not be a co-ruler of that house. Sexual Mars
in diffusive Aquarius can be correlated with promiscuity, and with the
lower mantram of Aquarius, “Let Desire in Form be Ruler”.
17.
There is a tremendous quality of persistence in Wagner’s operas.
He is not in a hurry, and many have considered his marathon creations
as ponderous and tedious in many sections. Taurus is a sign which (often
self-indulgently) “takes its time”. Gemini moves rapidly
from point to point, often fleeing boredom. Wagner was the master of
the slow build-up to a tremendous sonic climax. His power to sustain
suspense, to prolong intensification, was remarkable (and demanding
upon his audiences). Clearly, this characteristic mode of expression
(advancing slowly and relentlessly towards a glorious orgasm of sound)
is intimately related to Taurus rather than to Gemini. Think of the
music of Gioacchino Rossini, so light, nimble, so humorous, so Geminian!
Wagner’s operas are renowned for their heaviness—clearly
the influence of Taurus and Vulcan. To the author, this admittedly subjective
reason for choosing Taurus as Wagner’s Ascendant is very convincing.
18.
Wagner’s operas provide a continuous vocal-symphonic texture,
an unbroken flow of psychologically evocative melody and motif vividly
portraying the meaning of not only the outer events in his narrative,
but, especially, of the inner psychological strata implicit in those
events. The great continuity of symphonic-melodic flow (“endless
melody”) points to a sign (and its ruling planet) the essential
nature of which is persistence and continuity. Taurus and Vulcan both
represent the “Will-to-Persist”, and are sharply contrasted
with a major sign of discontinuity—Gemini. Gemini, however, would
provide the complexity and interweaving which characterized the fabric
of this persistent melodic flow. In all fairness, Gemini in relation
to conversation, is capable of going “on and on”. But then,
Gemini is well represented already by a first degree Geminian Sun.
19.
If we evaluate Wagner’s greatest contribution to the evolution
of human consciousness, and we (albeit, dividing that which should not
be divided) seek to compare his voluminous flow of words (Gemini) with
the thrilling cascade of sound (Taurus) which he lavished upon his listeners,
reasonable judgment would, in the opinion of the author, inevitably
decide in favor of sound. Wagner would not be especially well-remembered
for his words alone (or only to a much lesser extent), but his music
represents one of the great achievements of the human soul. Of course,
there is already sufficient Taurus to account for the great sounds he
created, but the Ascendant is that point in the astrological chart which
indicates the will and direction of the soul in any one incarnation,
and Taurus (the sign of the voice, and hence, intimately affiliated
with opera—his only real medium of musical expression) is the
sign more fittingly establishing the soul’s intention.
20.
Interestingly Wagner’s final philosophic position appears to have
been a mixture of world-renouncing Buddhism (inspired by Schopenhauer)
and compassionate, universal Christianity—embracing the redeeming
quality of the Christ Force. Taurus is the sign most connected with
Buddhism (for the Buddha, a Taurean, renounced the World of Maya and
achieved freedom from desire). Wagner’s final home was called
“Wahnfried” (“Freedom from Illusion”). Gemini
is, as esotericists will recognize, more related to the Christ. As ever
with Wagner, there was blend between the two.
Defense
of a Gemini Ascendant
1.
A Gemini Ascendant calculated for the time 4:11:15 AM will place Aquarius
on the Midheaven. Some feel that rulership of the MC by Aquarius (and
its ruling planet, Uranus) is the only way to explain Wagner’s
revolutionary effect in the field of music and, especially, opera.
2.
Wagner was also a social revolutionary. Uranus, the planet of revolution,
would be placed quite near (within seven or so degrees) of the seventh
house cusp, were Aquarius the MC, which would occur if the early third
degree of Gemini were rising. In the period of 1848-1849, when Wagner
became preoccupied with ideas of social regeneration, he wished to take
control of the opera away from the court and create a national theatre
whose productions would be chosen by a union of dramatists and composers.
This all sounds very Aquarian. The question is, is the position of Uranus
opposite Venus and the Sun (in all charts), and the even closer proximity
of Uranus to the seventh house cusp in the Taurus rising charts, plus
Mars in Aquarius near any of the Midheavens, sufficient to arouse this
revolutionary spirit, or is an Aquarian MC also needed? We have to remember
that Uranus is exalted in the sign Scorpio, and since it is quite angular
as well, it would be sufficiently powerful regardless of whether it
was the ruler of the MC.
3.
The Sabian Symbol for the first degree of Aquarius, which would rule
the Midheaven at a time sufficiently advanced (namely 4:11:15 AM) is,
“An Old Adobe Mission in California”; “the Power inherent
in all great human works to endure far beyond the workers’ life
spans”; “The Concretization of an Ideal”. This symbol
is certainly convincing in the light of Wagner’s amazing and enduring
creative achievements.
4.
Many times in his life Wagner had to take flight for one reason or another—whether
to escape his debts and creditors or to escape imprisonment, or simply
to escape public censure and adverse public opinion. It can be asked
whether a Gemini Ascendant (adding its tendencies to a Gemini Sun Sign)
would not be more in keeping with his tendency to run when under pressure.
5.
Wagner’s life was one of startling contradiction; he was at once
a transcendent genius and yet a man whose morals and good faith with
others hardly lived up to even a mediocre standard. Perhaps the Gemini
Sun would be enough to incline towards this blatantly hypocritical pattern
of behavior; the inconsistencies, however, would surely be multiplied
if both the Sun and Ascendant were found in Gemini.
6.
When one considers the major themes of Wagner’s last opera, Parsifal,
it is strongly Christ-centered. Gemini is the “Head of the Cosmic
Christ”, and a sign in which the Christ, Maitreya (or any Christ)
makes a great achievement, a profound identification with the dual Love-Wisdom
Ray of the Solar Logos. If we think of the goal of Wagner’s life
as an achieved identification with the Christ and the Hierarchy, then
a Gemini Ascendant is entirely appropriate. To choose Gemini in this
manner would be a qualitative solution, and from a certain high metaphysical
level, it is convincing; however, strict observance of the timing of
transits, progressions and directions is a more trustworthy method of
ascertaining the correct time of birth..
Conclusion
Regarding the Rising Sign
1.
It is impossible to conclude with utter certainty whether Taurus or
Gemini was the sign rising in Wagner’s chart at the time of his
birth. Thus, it is impossible to conclude whether Capricorn or Aquarius
was the sign ruling his Midheaven. Even if Gemini were the Ascendant,
only a time sufficiently advanced (4:11:15 AM) would yield an Aquarius
MC.
2.
The preponderance of evidence, however, (at least in the estimation
of the author) points to the likelihood of Taurus. If Taurus is chosen,
however, one has to live (a bit uncomfortably) with a few progressions
and eclipses which would more neatly fit the Gemini Ascendant and even
the Aquarius MC, but discomfort cannot be avoided simply by choosing
Gemini, because of still other progressions, directions and eclipses
which would more suitably fit the Taurus rising chart.
3.
In our search for certainty we are faced with an annoying ambiguity
(after all, we are dealing with the Geminian energy), but can console
ourselves with the thought that both Taurus and Gemini are inescapably
important in Wagner’s life, and that either type of chart (whether
Taurus or Gemini rising) will account in its own way for the influence
of these two signs.
4.
Given the preponderance of evidence in favor of a Taurus rising chart
(and despite the rectification of the notable astrologer E.E.) Bailey,
the interpretation of Wagner’s chart will proceed as if Taurus
were the most suitable Ascendant.
Chart
Analysis
Richard
Wagner was a great genius—a consummate music-dramatist to who
carried German Romanticism to it fullest expression. A controversial
and fascinating figure, he inspired generations of musicians to come,
yet he was notorious for his flagrant disregard of the moral and ethical
standards of his day. Ever convinced of his own artistic and literary
gifts, he had a revolutionary impact upon the music of the nineteenth
century. Whether loved or hated for his musical innovations, he became
impossible to ignore.
It
is said that even the Masters of the Wisdom were amazed by Wagner’s
creativity, wondering how any human being could possibly produce such
extraordinarily beautiful music—music so reflective of the higher,
fiery worlds. Some esotericists have said that Wagner was inspired by
great devas, and increasingly lost touch with behavioral standards expected
of normal human beings. Surely he life was committed to the expression
of his own genius, in which he implicitly believed; skillfully and insistently,
he availed himself of every opportunity to advance his artistic cause.
Wagner
was a romantic in the truest sense. His psychological universe was vast.
He longed for the indefinable, the transcendent, and pursuing his will
to express the highest mystical and unitive experiences of human-divine
love as well as the terror of the hellish psychic depths, he broke through
conventional musical forms and developed an unprecedented musico-dramatic
language entirely his own.
His
operas almost always revolved around supernatural, mythological or religious/spiritual
themes. His subtle, intuitive thinking led him deep into the collective
psyche of humanity (Jung’s Collective Unconscious), and he was
seized by a fascination for eternal archetypes themes belonging more
to the realm of the “gods” than to the dramas of ordinary
human life. His operas bring these two worlds (the numinous and the
human) together, always giving greater depth and significance to the
little affairs of mere mortals. Always some greater, universal power
is attempting to express itself through his protagonists—so often
the power of ecstatic, divinely-inspired, redemptive love, but equally,
the terrible, baleful, malevolent forces of the underworld—standing
ever opposed to the promised ascension in love. Many of his operas are
tragedy on a grand scale; the protagonists are merely pawns of the gods
and are doomed to destruction by the fates, by laws and curses for which
they bear no responsibility and which they can neither understand nor
overcome. A great war is raging between the gods and men. Man is hero-victim
of divine and infernal agencies which relentlessly demand the frustration
of his human happiness and almost always the forfeit of his life; but
with super-human fortitude, the hero rises undaunted against these overwhelming
forces and, though doomed, proves through self-sacrifice the nobility
of his spirit.
Is
man a god? Are the gods but men? There is no clear line between them—both
wrestle with the same grave issues, and both are doomed. In Wagner’s
psyche, the ancient gods of the Germanic Races struggle with the redemptive
power of love—harbinger of a new relationship between man and
the great, unitive “God”. The ancient fateful psyche (from
which man-as-man finds no ready escape) is in dire contest with the
new forces of deliverance released by the Christ—the Savior and
Redeemer.
Wagner’s
spiritual pilgrimage was long and full of agonizing turmoil, but by
the time his last opera, Parsifal, was completed, his life mission had
been accomplished, and redemption had come. The ancient gods had been
defeated, and man was free in his new-found innocence nourished by purity,
brotherhood and love. The journey had been tragic—full of loss,
disappointment and grief—but, at last, salvation was the reward.
Richard Wagner died less that a year after the first performance of
what many consider his greatest and most spiritual work—Parsifal.
A
List of Wagner’s Major Operas
1. Die Feen (The Fairies—1843)
2. Das Liebesverbot (The Ban on Love—1835–36)
3. Rienzi (1838-1840, performed 1842)
4. Der Fliegende Holländer (The Flying Dutchman—1841, performed
1843)
5. Tannhaüser (1843-1844, performed 1845)
6. Lohengrin (1846-1848, performed 1850)
7. Die Meistersinger von Nürnberg (The Mastersingers of Nurnberg—1862-1867)
8. Tristan und Isolde (composed 1857-1859; performed 1865)
9. Der Ring des Nibelungen (The Ring of the Nibelung—1853-1873)
including: Das Rheingold (The Rhine-Gold—1853–54); Die
Walküre (1854–56), and two acts of Siegfried (1856–69);
the third act of Siegfried and Götterdämmerung (The Twilight
of the Gods—1872-1874)
10. Parsifal (1877-1882)
An
Estimation of Richard Wagner’s Rays
Monad:
Undetermined, but the subray of the monad is likely to be Ray Four
Soul:
Ray IV, possibly transiting to Ray II
Personality:
Ray 1
Mental
Vehicle: Ray 4 with elements of R1 and R3
Astral/Emotional
Vehicle: Ray 6
Etheric-Physical
Vehicle: Ray 3
It
is always difficult to assess the monadic ray—the so-called “x-factor”
in the energy structure of a human being. With highly developed and
prominent people, the soul ray is seen to be emergent (but still caution
is required). The monadic ray is even more remote and only comes into
quite full manifestation in the case of an initiate of the rank of Master.
It
is unlikely that Wagner’s monadic ray is the first. First of all,
the odds are against it, only five billion of the sixty-billion human
monads being on the first ray. Further, the majority of those with first
ray monads incarnated in Atlantis and so have had little time, relatively,
to pursue their development. The most probable rays are the third or
second with the fourth ray being a very reasonable monadic sub-ray.
These monadic subrays can be highly important in determining the line
of hierarchical service. For instance, since the major monadic ray can
be only the first, second or third, we can assume that the sub-monadic
ray of the Master Jesus is the sixth and that the sub-monadic ray of
the Master Hilarion is the fifth, yet these subrays are sufficient to
empower them to be Chohans of the sixth and fifth ray ashrams respectively.
With regard to the third and second rays in relation to Wagner, there
can be no doubt of his great intelligence aligning him with the third
Ray of Creative Intelligence. We also see, however, that his yearning
for transcendental love was profound, and his last and climactic opera,
Parsifal, is, of all his operas, written and composed upon the redemptive
second ray.
The
astrological conduits for the second ray are several, but only one sign/constellation.
The constellational conduit is his Sun Sign, Gemini, which transmits
(in any obvious way) only the second ray—at least from the sign/constellation
level. Jupiter, the major planet of the second ray must also be considered,
and significantly, Jupiter is found in Leo, the sign of the heart—a
sign particularly associated with the manifestation of the causal body
and of the Solar Angel through that body. Both the causal body and the
Solar Angel are, regardless of the ray which may specifically condition
them, generically upon the second ray. Further, Jupiter is placed in
a house congenial to its expression—the fourth—which is
the house of its exaltation (though Jupiter is not in the sign of its
exaltation). Venus, which distributes the second ray (probably in its
personality nature) is exactly on the Ascendant of the proposed chart
(and very near the Ascendant of the other charts), so it is significant
as a second ray distributor, especially as it is found in the second
sign, Taurus, associated with the wisdom aspect of the second ray. A
close gathering of parallels also promotes the expression of the second
ray, as we find Venus, the Ascendant, Jupiter and the Sun all within
thirty-five minutes of arc of each other. Each of these planets has
a strong second ray component, and the Ascendant is signally an indicator
of soul intention in the astrological chart of any advanced individual.
The soul, regardless of its ray, represents the second aspect of divinity.
The
soul of Wagner, like that of Bach, Beethoven and Brahms (all of them
consummate German composers) appears to have been focused on the fourth
Ray of Harmony, Beauty and Art—the soul ray of Germany. Is it
the fourth ray soul of Germany that has caused it to produce so many
of the world’s greatest musicians? Are its soul sign Aries and
its personality sign, Pisces also involved—for Pisces, especially,
is a sign much related to music.
Wagner
considered himself to be as much as dramatist as a musician, and his
music was of an exceptionally dramatic nature—often sublimely
delicate and diaphanous, shimmering and transparent; but as often thunderous
and overpowering. He portrayed the entire range of possible emotions—from
the most noble and aspiring, to the most dreadful and malignant. His
relation to the soul of Germany was on a deeply mythological level.
Within his psyche the great conflict between the archetypes of good
and evil battled for supremacy. His operas are a spectacular outpicturing
of the of his tortured, warring psyche longing for peace and redemption.
In view of his conflicted nature and its consummate expression on an
heroic scale through his art, the Ray of Harmony through Conflict seems
the most suitable choice for soul ray. The soul ray is the ‘Ray
of Contribution’, and surely the music-dramas of Richard Wagner
were his great legacy to humanity.
The
conduits for the fourth ray are significant. Three signs/constellations
convey the fourth ray: Taurus, Scorpio and Sagittarius. Wagner has significant
planetary placements in each of these: Mercury and Venus (brilliant
planets of the mind) in Taurus (which sign may as well be the focus
of the Ascendant); Uranus (the “Revolutionary”) in Scorpio
and there exalted; Neptune (the “Transcendentalist”) in
Sagittarius. These planets (all of them) are not far from the Ascendant/Descendent
axis (giving them added power), with both beautiful Venus and shocking
Uranus being on or virtually on that axis. The Ascendant/Descendent
is the axis of identity and relationship—both outstandingly important
dimensions of Wagner’s life. He was ever aware of who he was and
the nature of his soul mission; he was ever involved in the most intense,
challenging and transformational relationships and friendships. The
strong representation of the fourth ray in the astrological chart made
it possible for him to bring his soul quality vividly and vibrantly
(but rarely comfortably) into the midst of his personality life.
There
is some reason to believe that his fourth ray soul may have been refocussing
upon the second ray—especially near the end of his life. The themes
which preoccupied him in Parsifal related more to the second ray than
the fourth, though the fourth (indicating the constant drama of the
conflict between good and evil) was never far from the surface. Perhaps,
Wagner, genius that he was, was passing through the third initiation,
and becoming responsive to the ray of the monad (the major ray of which
is possibly the second). The Tibetan speaks of those who transfer from
the fourth ray to the second; it is one of the usual modes of soul ray
transfer, but the fourth ray can, equally, transfer on to the third.
The conduits for the second ray have already been examined.
Many
studying the personal life of Wagner conclude that he was a supreme
egotist—a man full of himself, selfish, careless of the rights
of others and maddeningly ungrateful. Of course to his true friends
(and he was a good and loyal friend to some), he was entirely otherwise—further
evidences of Geminian duality. His demanding and overbearing nature
and the foregoing catalogue of negative qualities can all be attributed
with reason to a first ray personality. There were many positive qualities
equally associated with the first ray: artistic integrity, the ability
to work alone and without psychological support, unwavering purposefulness
on the level of his mission, persistence and an unrelenting drive towards
the fulfillment of his artistic objectives (all these strengthened by
the idealistic sixth ray which is hypothesized as the ray of his astral
vehicle).
The
first ray, like the fourth, has important conduits into the chart. Constellationally,
Leo (holding grand, or grandiose, Jupiter) is one; Capricorn containing
Saturn, and endowing Wagner with strong discipline (at least in the
area of philosophical thought and the formulation of a coherent world
view) is another. Juno, a relatively minor influence, is found in the
other first ray sign, Aries. Forceful and revolutionary Mars (a partially
first ray planet) is in Aquarius and elevated quite near to the MC.
Electric Uranus (monadically upon the first ray) is in the sign having
much resonance with the first ray, Scorpio. Since Scorpio is, archetypally,
the sign of the great first ray hero, Hercules, and near the Descendant,
it would be another powerful conduit for the first ray. If Taurus is
the Ascendant, then first Vulcan would be the esoteric ruler, and, necessarily,
very close to the Ascendant. Wagner loved to write about Vulcanian characters—his
Nibelungen, dwarves who live in the interior of the earth. The anvil
and the hammer are also strong iimages, especially in the Ring Cycle.
Wagner’s Vulcanian “Will-to-Persist” has already been
noted. One can see how much a Vulcan placement near the Ascendant would
strengthen a first ray personality.
Wagner’s
mind was wide and versatile—in short that of an advanced Geminian.
It may be hard to put any single ray upon it, but the fourth ray (manifesting
with Geminian fluidity) and the first ray (impressed from his personality)
both characterized his thought process. One of the key planets of mind,
and the orthodox ruler of his Gemini Sun Sign, is Mercury found in the
twelfth house in fourth ray Taurus. Because of the Sun’s position
in the first degree of Gemini, Vulcan, which can never be more than
eight degrees from the Sun (on either side) could not be conjunct Mercury,
though a conjunction of Vulcan with Venus is possible. Mercury is strengthened
however by its conjunction with one of the alternative Ascendants (the
Equatorial Ascendant), and by the fact that forceful Mars (a carrier
of the first ray) squares it from the tenth house. So, Wagner for all
his poetic fluidity, was forceful in the expression of his opinions—a
first ray quality. The third ray as well, cannot be ignored because
of the complexity of Wagner’s mind as reflected in the complexity
of his verse.
There
can be little doubt that Wagner’s astral vehicle was upon the
intense, aspiring and inspiring sixth Ray of Devotion and Idealism.
There is little of the emotional serenity and relaxed detachment of
the second ray. It is not possible to think that the longing, exaltation
and depression expressed in his music could have been composed were
the astral vehicle on the second ray. Probably, since the fourth ray
was so strong (hypothetically the sub-monadic ray, the ray of the soul,
and a major ray of the mind), it would have been influential in the
astral field as well, since the astral body is archetypally reflective
of the soul.
It
is difficult to assess the ray of the physical-etheric body (perhaps
close personal contact and observation are necessary), but one gets
the sense of Wagner as a man with an active outer form. Certainly, he
moved from place to place, either visiting, fleeing, or frequently taking
up a new residence. Third ray Saturn in sometimes third ray Capricorn
are important conduits of the third ray, as is Gemini the third sign
of the zodiac. He also had a particular gravitation to Paris, France
(thus resonating with the third ray personality of France). If Gemini
were rising as well as being the Sun Sign, third ray mobility would
have been increased; if Taurus were the Ascendant, it would have been
decreased accordingly.
Significant
Astrological Features in Richard Wagner’s Chart
1.
The Ascendant in Taurus, ruled exoterically by Venus and esoterically
by Vulcan, and being quite close to the Pleiades (either conjunct or
within a degree and a half), would relate Wagner to what might be called
the ‘flow of celestial song’. No sign/constellation of the
zodiac is more intimately related to the manifestation of sound. Taurus
rules both the ears and the vocal apparatus.
2.
The Sun is in the first degree of Gemini, the Sabian Symbol for which
is: “A Glass-Bottomed Boat Reveals Undersea Wonders”: “The
revelation of unconscious energies and submerged psychic structures”;
“A New Dimension of Reality”. The tremendous fertility,
fluidity and prolixity of Wagner’s mind are revealed through the
sign Gemini and through the symbolism of its first degree. Mentally
and intuitively he could soar into the heights of superconscious perception,
and plumb the depths of the archaic psyche—either domain being
usually sealed to the average inquirer. He not only created magnificent
opera, but he demanded that his audience rise above a desire for mere
entertainment and being really to think (Gemini) about the great issues
facing every aspiring human being.
3.
The entire system of “leit motifs” (“leading motifs”—short,
expressive musical phrases) through which the orchestra and/or the vocalist
communicates both the overt and subtle meanings of the stage action,
and the normally invisible psychological complexity of the characters,
is facilitated by the Gemini Sun Sign position—especially in the
first degree which promotes contact with elusive and intangible “wonders”
of the heights and depths—normally undetected. Throughout the
continuous flow of his music (Venus in Taurus), Wagner is communicating
(Gemini) his multi-layered thought (Gemini). The complex weaving of
these motifs inclines one to search for a third ray component to the
mind.
4.
Note that the Sun is trine to a nervously intense Mars in Aquarius (providing
abundant vitality generated through thought), and sextile to splendid
Jupiter in Leo, giving breadth, scope and grandeur to his thought. Jupiter
and Mars are opposed, giving ambition and the desire to accomplish great
things. Jupiter is further related to the Sun by a close parallel of
declination. Taken together they indicate a great expansion of the heart
center; or they can manifest as an inflated self-opinion—conceit.
5.
That Wagner was a revolutionary—not only in the arts but in relation
to society can be seen by his opposition of Uranus in Scorpio to his
Gemini Sun. That Uranus is in destructive regenerative Scorpio and angular,
adds power and intensity to his revolutionary intent.
6.
Mars represents the solar plexus center and Jupiter the heart. Clearly
there is an opposition between them, and thus an activation and a transference
of energy from Mars to Jupiter. Jupiter is clearly the more important
and spiritual planet in this pattern, and triumphs in fulness towards
the end of the incarnation.
7.
One must point to an all-important conjunction between the Sun in Gemini
and Venus in the last degree of Taurus. This conjunction is frequently
found in lovers and creators of beauty. In these two signs, the conjunction
magnifies light and intelligence. It bestows the capacity to write about
(Gemini) the arts (Venus). Wagner was certainly a great aesthetic philosopher
and articulate advocate of his revolutionary aesthetic theories.
8.
Wagner’s Moon is found in the seventeenth degree of Aquarius,
and it is conjunct the South Node—a union of two astrological
indicators of past conditions. The Moon in this position bestows upon
Wagner the ability to relate to many people and groups of people. It
gave him skill in as an theatrical director and orchestral conductor,
and allowed him to distribute his energies widely. It probably contributed
to considerable diversification and over-extension, especially in the
early days. On a mundane level, it contributed to Wagner’s susceptibility
to heart and circulatory problems.
9.
We might say that Wagner inherited (from his previous incarnations)
a wide diversity of contacts. His world renown is favored by this Moon
position. Which of the three veiled planets did the Moon veil? The Moon
in Aquarius is, after all, the hierarchical position, and is related
to all three—Vulcan, Neptune and Uranus. There is much of universality
which comes through this elevated Moon position, and the probability
is, that it accessed each of the planets at different times.
10.
Mercury is found in Taurus in the twelfth house. It is not that Wagner
was inarticulate or unexpressive as sometimes accords with a twelfth
house position of the planet of communication—quite the contrary.
The luminosity of the Taurus Mercury was, however, focussed upon the
deep psyche of humanity (twelfth house). A powerful T-square between
Mercury, Mars and Jupiter reveals something of the quality and intensity
of this thought. Mars and Jupiter together give ambition, and the refusal
to limit one’s scope. Mars square Mercury confers a sharp and
aggressive mind given to argument and polemics; critical and even cruel
speech may result. Jupiter square Mercury contributes to great thoughts—perhaps
too many of them—vast in scope. Prolixity may result—writing
too much, speaking too much. There were many verbal attacks and counter-attacks
in Wagner’s life, Controversy (Mars square Mercury) raged around
him, and of him, much was said (Jupiter square Mercury).
11.
The close sextile of Chiron (mentor, healer and guide) to Mercury, accounts
for the teaching function of Wagner’s approach to the arts, and
to the healing potential of his music. Chiron is found in Pisces where
it can be powerful to heal through compassion. Wagner, like Shakespeare
had, in many lives, seen much and understood much about the joys and
sorrows of the human condition. Through his later works there flows
a great compassion for humanity—even as in Shakespeare. There
is no sign more capable of identification with the human condition than
Pisces (a sign partially upon the second ray). Chiron, as well, partially
upon the second ray, has its deeper potentials drawn forth within this
sign.
12.
Venus was one of Wagner’s favorite themes—whether as a seductive,
almost irresistibly alluring character in Tannhaüser, or in his
song to the “Morning Star” (O, du holdes Morgenstern). So
many of Wagner’s heroines have positive Venusian qualities; the
more alluring and dangerous Venusian qualities belong to the Rhine maidens
and to the tantalizingly beautiful women of Klingsor’s Garden.
13.
In his own individual and psychic life, Wagner fought a prolonged battle
with the allure of Venus. Like the woeful knight Amfortas, in Parsifal,
he had fallen into the “Garden of the Flowers”, and been
wounded in his spirituality. Chiron, who inflicts the wound, is square
to Venus. Wagner, himself, was on the way to spiritual transcendence,
but his love of beautiful women provided a severe test. Yet, the transformation
would come, as Uranus (the Transformer and co-ruler of the sacral center)
is opposed to Venus. Through his creative art there was already a tremendous
elevation of sacral energy to the throat, and Uranus in that position
would ensure the increase of the upward flow.
14.
To sing Wagner’s music is both strenuous and demanding (Mars trine
Venus, Vulcan prominent, Jupiter calling for full expression), but his
melodies are undoubtedly extraordinarily beautiful—the gift of
Venus in Taurus.
15.
The opposition of Uranus in Scorpio to Venus in Taurus is one of the
most significant aspects in the chart. Wagner single-handedly transformed
(Uranus in Scorpio) the nature of opera (Venus in Taurus). In this aspect
we see his revolutionary aesthetic theories, and the new melodies, harmonies
and textural innovations which appeared in his mature works—from
the early 1850’s onwards.
16.
We also see in the Venus/Uranus opposition his dramatic and often disastrous
relations with women: his sudden affairs, his pursuit of other men’s
wives (mostly the wives of patrons and benefactors!); his sudden breaks
in relationship; his flouting of moral convention whenever he fell in
love. That this opposition, having so much to do with relationship in
the first place, lies on the relationship axis (Ascendant/Descendant)
only increases its power and prominence.
17.
Venus is also quintile the midpoint of the Ceres/Pluto conjunction,
thus, in a sense, quintile to both. Here we see enacted a drama of attachment
(Ceres/Venus) and detachment (Pluto/Venus). Pluto severs; Ceres nurtures.
That the aspect connecting these three is the creative quintile shows
that Wagner was able to deal with such troubling psychological issues
in his creative works—his operas. Questions such as—Who
is mother? Who is lover? How are they different? How are they the same?
To which am I more attracted? From which must I sever myself?—are
all involved in this quintile relationship. Issues surrounding love
(Venus) and fatality (Pluto) are also suggested.
18.
That Mars is in an harmonious sextile with Venus shows Wagner’s
natural and healthy appreciation for the beauty of women. Though his
sexuality was no doubt complicated by complexity thought and romantic,
transcendental idealism, on a purely physical level, he was very much
the “natural man” (Taurus).
19.
Mars and Venus, harmoniously, related also tell why so many of his operatic
plots are love stories, in which great passions are fully and uninhibitedly
expressed.
20.
Mars and Venus also represent soul and personality. The excitable passions
of Mars (the personality) are mastered by the beauties of Venus (the
soul). In Wagner’s life, though passions were strong (prominent
Mars and strong Taurus), the sublime and redemptive Venusian love (often
the love bestowed by a pure and beautiful woman) won the day.
21.
The position of Venus conjunct the Ascendant (whether in-sign with a
Taurus Ascendant, or out-of-sign, with a Gemini Ascendant), shows the
power of the soul in Wagner’s life. This position represents not
only his aesthetic inspiration, not only his vulnerability to beauty,
but the transfiguring effect of his music. Was Wagner a true initiate—an
initiate of the third degree? As a musician he was. Whether or not his
personality measured up to the requirements by the end of his life is
only for him to know.
22.
Mars is potent in elevation. It is a sixth ray planet (principally)
and can make the radical idealist. Certainly it contributed to Wagner’s
revolutionary fervor and his dream of the overthrow of reaction regimes.
He was an activist, and actually participated in the 1848-1849 revolution
in Dresden; its failure forced him to flee to Switzerland or face arrest.
One can see Wagner as an agitator (Mars in Aquarius conjunct the MC)
whether in the field of music or in politics. Uranus in drastic Scorpio
at the social seventh house cusp surely stimulated the rebellious Martian
tendencies.
23.
Jupiter in Leo is of great importance in the chart. It is accidentally
dignified in the home of its exaltation—the fourth house. Jupiter
is in harmonious aspect to the Sun, Venus and, loosely, to Uranus. It
makes harmonious aspects to the Ascendant and Descendant as well. Wagner
had a great mission to fulfill for the sake of music and culture; Jupiter
protected him, guaranteeing fulfillment. Since Jupiter is placed in
the house of the inner ashram, this can be seen as ashramic-protection.
This position also symbolizes the patronage he received and the comfortable
working conditions which eventually came his way. Note that Jupiter
is the orthodox ruler of the eighth house which is associated with the
resources of others. It represents, above all, the lavish (Leo) patronage
of King Ludwig II of Bavaria, who not only saw to Wagner’s domestic
comfort by providing him with a home in Bayreuth called “Wahnfried”
(“Freedom from Illusion”) but contributed large sums to
help create a theatre in Bayreuth, Bavaria dedicated especially to the
performances of Wagner’s opera. In the estimation of the author,
this patronage came directly out of the fourth ray ashram. Though he
was a king, Ludwig was, like Wagner, very probably a fourth ray soul
with a devoted sixth ray personality. Thus, Jupiter in Leo, by whatever
agencies it operated, ensured the embodiment of Wagner’s ideals.
24.
The liabilities of Jupiter in Leo were also evident: egotism, inflation,
extravagance and grandiosity. No matter how much was lavished upon Wagner,
he always spent more than he had, never managing to live within his
means. A few more significant aspects of disciplinary Saturn in Capricorn
would have helped. Perhaps Jupiter in this position, signifies an attitude
that “the universe will provide”, and support will inevitably
come. For the most part, it did.
25.
Incidentally, it is this placement of Jupiter in Leo, strongly connected
to the Sun, Venus and Ascendant which makes Wagner’s operas grand
operas—more grand than any operas written before his time; and
still more grand that many operas written in imitation of his style—operas
which may have been larger, but never grander.
26.
Saturn is strong it its own sign Capricorn and placed in the ninth house
of higher mind. Though Wagner may have been careless or casual in many
things, he was not careless about his thought or philosophy, or his
perspective upon musical composition.. He shaped his world view with
exactitude. Interestingly, this position may have much to do with the
initial rejection of his music in strictly academic circles which have
a hard time accepting revolutionaries—when they are alive.
27.
Though Wagner was a romantic, rather than a classicist like Brahms,
his sense of musical structure was profound. Saturn in Capricorn confers
this structural sense. He had carefully studied the scores of Beethoven,
and knew how music was put together on a grand scale. One can see that
he applied rigorous discipline to his work, if not to his personal relationships.
One can also see through the loose square of Saturn to Juno, that although
he probably entered many relationships impulsively, his sense of duty,
dharma and sheer hard work did not give him the time to pursue them
further.
28.
This Saturn position no doubt contributed to Wagner’s sense of
fate and destiny, as it is the ruler of the proposed Capricorn Midheaven.
The idea of being compelled by fate to compose; the thought of working
under demanding time restraints; the thought of being a servant of one’s
greater destiny—all these must have been part of his world view.
29.
The Saturn in Capricorn also has an interesting connection to Wagner’s
relationship to the Jewish people. Capricorn is the personality sign
of the Jews, and third ray Saturn is very much their planet. The Jews
are strongly under the law. Saturn is both a third ray and a first ray
planet. The “Soul of Judea” is upon the first ray, and its
personality upon the third.
A
number of Wagner’s friends were Jews, and in personal life he
was not especially known for anti-Semitism. There are actually stories
that Wagner was uncertain of his own parentage, and that his father
may actually have been a Jew. His later writings, however, contain passages
which are re overtly anti-Semitic, and his second wife, Cosima, promoted
this attitude. We can see in the important Saturn/Capricorn position
(especially if it is the ruler of a Capricorn Midheaven) that Wagner
has a karmic link to the Jews. His portrayal of Mime in Siegfried¸
and Beckmesser (“back-stabber”) in Die Meistersinger, were
thinly disguised Jewish caricatures, and some say, projections of aspects
of his own character very much resembling them.
30.
Uranus has already been discussed in relation to its opposition to Venus
and the Sun. So close to the seventh house cusp, it transforms Wagner
not only into a musical but into a social revolutionary. His impact
upon those he encountered was fascinating, mesmerizing. Among his friends
were great geniuses—Liszt, Nietzsche and others. His relationships
were shocking in a sense both good and bad, and their termination was
often abrupt (Uranus). It was impossible to be related to Wagner without
passing through a profound transformation—or as Nietzsche might
say, a “revulsion”. Wagners operas portrayed what might
become of a man and woman if they were deeply related within the field
of transcendent love. One can imagine that he sought to live out these
transformative possibilities in his numerous love affairs and especially
in his marriage to Cosima Liszt (the daughter of his friend and advocate,
pianist-composer, Franz Liszt).
31.
Neptune is the planet of romanticism, and it is placed in Sagittarius,
the sign of aspirational desire, and elevated idealism. If Wagner held
high hopes for the power of love, this Neptune position certainly fanned
the flame. Neptune, at the present time, is predominantly a sixth ray
planet, and Sagittarius is the foremost sixth ray sign. Together, in
the seventh house of relationship and marriage, they are potent to create
a longing for sublime and idealistically perfect union. Note the opposition
to Vesta, the asteroid of commitment (an asteroid with a potent sixth
ray). Note too that Juno (the asteroid of partnership) is placed in
impetuous, impulsive Aries, trine to Neptune and sextile to Vesta. The
Moon is also involved in this configuration, sextiling Neptune, trining
Vesta and widely sextile Juno by translation of light. The Moon is also
an indicator of the feminine and the unconscious.
32.
In this aspect pattern, therefore, we see one of the key descriptors
of a recurrent and insistent theme in Wagner’s life—redemption
through love. One can see Wagner on an endless search for the ideal
woman—one who embodied the ideal qualities portrayed in his operatic
heroines. One wonders whether in Cosima he found his ideal. Certainly,
few could equal her devotion to him, both during his life and after
his death.
33.
Pluto’s principle aspects are several: a conjunction with Ceres,
a semisquare, to Mercury; a semisquare to Mars; a sextile to Saturn;
a sesquiquadrate to Jupiter and a trine to Uranus. Wagner was a radical
who went to the roots of matters in which he took an interest. He had
the power to deeply and permanently change what he touched (exemplified
by the harmonious Pluto trine Uranus)
A
Few Parallels
1.
As has already been mentioned, Venus, Ascendant, Jupiter and Sun are
all parallel within less than a degree. This is a very successful combination
for soul expression—especially for the expression of the energy
of love. By translation of light, Vesta enters this configuration, and
is still within the one degree limit. Thus devotion and commitment are
an added ingredient to the radiant, expansive, beautiful expression
of soul love—in music and in cherished relationships focally—not
in general.
2.
Interestingly, Chiron and Juno (already in a decile or semi-quintile
relationships) are contra-parallel. This aspect indicate something of
the hurting and wounding (Chiron) which occurred in Wagner’s relationships
(Juno) and the attempt to bring understanding and healing to them (Chiron—in
compassionate Pisces).
3.
The Moon is not only conjunct the South Node, but parallel to it, emphasizing
the importance of the lunar legacy. The lower mantram of Aquarius, “Let
desire in form be ruler”, must have had its application, especially
in Wagner’s earlier days. Mars in Aquarius would reinforce this
indiscriminate tendency.
4.
Pluto is also parallel the South Node, showing the depth and psychological
acuity brought over from the past.
5.
The MC is contraparallel to the aggregation of Venus, Jupiter, Sun,
Ascendant and Vesta, ensuring that the huge radiance of this ‘stellium
by parallel” had a professional application.
6.
Finally, Saturn, Mars and Neptune are all parallel within forty forty-four
minutes of arc, with Saturn and Mars within ten minutes of arc. Saturn
and Mars combine to produce frustration, but also great labors, especially
in the manifesting of Neptunian ideals. One thinks of Wagner’s
output—the tremendous labor it represented. His Saturn in Capricorn
was a very useful position.
A
Few Fixed Stars
1.
Depending upon which chart is used, different fixed star contacts emerge,
but some are constant in all charts.
2.
Both the Sun and Jupiter are closely parallel Arcturus. These parallels
are highly significant. This star embodies the tendency to take a new
path, to try a new method, to do what has not been done before. We have
already seen the important sextile between the radiant Sun and grand
Jupiter, and their reinforcement by parallel. Now we see that they are
parallel the same powerful fixed star. Surely these parallels added
originality and daring to Wagner’s creative life, and reinforced
his Uranian iconoclasm.
3.
Mercury is conjunct to the forceful star Hamal, expressing as independence
of thought.
4.
Schedir is also conjunct Mercury. Schedir is the Queen representing
female power, though it is a power bound and chained. Wagner’s
mind was preoccupied by his relationship to the feminine—a force
which he sought to liberate, and, from which, as an aspirant to the
higher Mysteries, he sought to liberate himself.
5.
Both Venus and the proposed Ascendant are conjunct to Mirfak, a star
representing a courageous one who is willing to rise to a challenge
or do battle. We can at least be sure of the conjunction to Venus, further
showing the boldness with which Wagner approached artistic innovation.
Chakric
Indications
1.
Sometimes, the dynamics of the chakras can be seen through planetary
relationships in the astrological chart.
2.
Jupiter exactly opposed to Mars shows the close and vital interplay
between heart and solar-plexus. This is certainly reflected in his operas
during the developmental course of which, passion is, at length, transmuted
into compassion.
3.
There is a strong throat center emphasis. Taurus rules the throat center;
Mercury, ruler of speech and thought, is in Taurus, again implicating
the throat; Venus, also related to the throat center is rising in Taurus;
the Earth (a third ray planet related to the throat center) is angular,
and heliocentrically, in its own sign, Sagittarius.
4.
The Mars/Venus trine and Taurus hypothesized as rising, suggests strong
sacral center activity. Mars, sometime ruler of the sacral center, is
conjunct the MC and thus angular, and so is Uranus (in the sexual sign
Scorpio) conjunct the seventh house cusp, thus bringing the sacral center
strongly into the relationship life. Venus in Taurus (rising) can be
highly sexual, though it naturally has higher interpretrations.
5.
A most important indicator is Venus, ruler of the ajna center, in Taurus,
a sign of light, and on the Ascendant (which is the astrological point
especially related to soul direction and expression). Venus is also
the planet of the love and light of the soul. Venus’s angular
position in a sign very friendly to its nature, suggests its luminous
influence in the life, and confers a very strong power to visualize,
imagine and hear in the inner worlds. Interpreted at a high turn of
the spiral, this position could be the signature of an initiate of the
third degree. It certainly represents the “light-bearer”—in
Wagner’s case, in the field of music, drama and the arts.
6.
As for the crown center, we know that in a disciple/initiate, it has
to be active. The presence of the Sun so close to the Ascendant may
be considered an indication of considerable activation, because the
cusp of the first house (Ascendant) rules the head, and the Sun is the
fulness of synthetic radiance.
7.
Close examination reveals every center active except the base of the
spine. Pluto, however, is relatively strong, and so there may have been
moments of great inspiration which caused an upsurging of the lower
fires—kundalini. This possibility is indicated by the trine of
Pluto to Uranus (the ruler of electric fire).
8.
A particular problem may be indicated by the square of Mars (solar plexus)
to Mercury (throat and ajna centers). Mercury takes over an ajna function
near the time of the third degree. The Jupiter/Mercury square introduces
the struggle to speak (Mercury) from the heart (Jupiter in Leo—the
sign of the heart). The Mars/Mercury relationship shows speech and imagination
motivated by solar plexus desire. We see in these three planets and
their T-square, a struggle between the solar plexus, heart and throat
centers, and the solar plexus, heart and ajna centers. The solution
lies in the cultivation of the latter triangle (which will be familiar
to some students of esotericism as the triangle presented by DK in His
first two group meditations found in DINA II).
9.
One of the distinguishing achievements of an initiate of the third degree
is to move solar plexus functioning (Mars—which is also the ruler
of the personality to be subdued) into the heart. Illumination of the
ajna center is another necessity. It is clear that Wagner had the astrological
potential for both.
A
Few Important Life Events and their Astrological Concomitants
1.
Below are two solar eclipses which occurred just before and during the
year of Wagner’s first marriage to Minna Planer. Note that the
first solar eclipse occurs very near the seventh house cusp.
Sun
SEcl (X) Tr-Tr Nov 20 1835 NS 19:31 27°Sc26' D
Sun SEcl (X) Tr-Tr May 15 1836 NS 23:02 24°Ta42' D
2.
On October 22, 1842 his first representative opera, Rienzi, was triumphantly
performed in Dresden. Note that the lunar eclipse shortly before this
performance falls close to his proposed Capricorn MC.
Mon
LEcl (X) Tr-Tr Jul 22 1842 NS 19:48 29°Cp09' D
3.
In 1843 Wagner was appointed conductor of the court opera. Transiting
Jupiter (T-Jupiter) was crossing his MC at the time his Flying Dutchman
was performed in Dresden, January 2, 1843. Note the lunar eclipse on
January 16th, 1843 which puts the Sun at the proposed Capricorn MC.
The transits of Jupiter would work very well for a 4:11 AM time with
Gemini rising, however, the eclipse would not work so well.
Mon
LEcl (X) Tr-Tr Jan 16 1843 NS 17:14 25°Cn37' D
4.
Wagner was involved in the social revolutions of 1849-1849 centered
in Dresden. He wrote inflammatory articles (Mars in Aquarius) and visibly
pushed for reform. When the revolution failed he was threatened with
arrest and fled Dresden. T-Saturn had entered the twelfth house of exile.
T-Pluto from the twelfth house was squaring the proposed MC/IC axis
at 27° Cap/Can 55’. Note in the eclipses listed below, the
solar eclipses occurring on or opposite natal Chiron, and the lunar
eclipses involving destructive Pluto, one on the exact degree and one
only two degrees distant Sun. From these positions, it appears that
his life was in danger.
Sun
SEcl (X) Tr-Tr Aug 29 1848 NS04:18 05°Vi33' D
Mon LEcl (X) Tr-Tr Sep 13 1848 NS 15:18 20°Pi33' D
Sun SEcl (X) Tr-Tr Feb 23 1849 NS 10:38 04°Pi23' D
Mon LEcl (X) Tr-Tr Mar 9 1849 NS 09:56 18°Vi23' D
5.
From 1849-1852 he produced his basic prose works Die Kunst und die Revolution
(Art and Revolution), Das Kunstwerk der Zukunft (The Art Work of the
Future), Eine Mitteilung an meine Freunde (A Communication to My Friends),
and Oper und Drama (Opera and Drama). Saturn had entered the large twelfth
house (Placidus) for a lengthy transit forcing a kind of retreat or
retirement. The progressed Moon was traveling through Gemini (writing)
and Cancer (staying at home). Most importantly, progressed Mercury in
Cancer (P-Mercury) was rapidly approaching P-Venus also in Cancer, achieving
conjunction in 1852. He was writing (Mercury) his aesthetic theory (Venus).
By 1852 he had written the poetry for the Ring des Nibelungen.
6.
By 1853, Wagner had begun the composition of The Ring, which was to
put his new aesthetic theories into practice. Note that Saturn begins
its transit over his Ascendant indicating the initial steps at concretizing
a new cycle.
7.
In 1857, he suspended work on the Ring Cycle, putting it aside without
hope of ever seeing it performed. Inhibitory Saturn was transiting his
progressed Sun in Cancer.
8.
From 1857-1859 he was deeply influenced by the world-negating philosophy
of the Piscean/Cancerian philosopher, Arthur Schopenhauer; experienced
a deeply disappointed love affair with Mathilde Wesendonk; and composed
his opera, Tristan und Isolda, which revealed a new and revolutionary
subtlety in his use of leit motifs. His music became at once more complex
and more profound.
During
this period we see P-Moon passing through the sign Libra, putting a
focus upon relationship (the Wesendonk Affair), and upon the theme of
his new opera—hopeless, unattainable love. Significantly solar
arc Neptune (SA-Neptune) was passing over his MC, increasing his subtlety,
his receptivity, his compassion and his longing for transcendental love.
Uranus was transiting opposite its own natal position (in Scorpio),
activating his seventh house of relationship, and causing great upheaval.
During this period, as well, T-Uranus crossed the Ascendant signaling
not only the turmoil in his relationship life, but the fundamental innovations
he introduced in Tristan and his innovative break from the past. He
had risen into his full stature as a composer, and was, from that time
forth, to express himself with complete authenticity. However, in the
years immediately ahead, there would be no production of Tristan,(it
was not performed until 1865) because the artists were bewildered by
its revolutionary stylistic innovations. Neptune (planet of bewilderment)
was so active during its composition, and revolutionary Uranus had been
transiting the planet of art (Venus) as well as the Ascendant and the
Sun.
9.
In 1861, an amnesty had been declared allowing him to return to Germany.
P-Venus was conjuncting the fourth house cusp of home and native country.
The P-Vertex had progressed into freedom-granting Sagittarius. During
that year, P-Moon was crossing natal Uranus (liberation) and later entering
liberating Sagittarius. Note the eclipses involving Jupiter (reprieve)
in the fourth house of homeland, and on the MC/IC axis, which has to
much to do with where one lives and where one works.
Mon
LEcl (X) Tr-Tr Jan 27 1861 NS 01:53 06°Le48' D
Mon LEcl (X) Tr-Tr Jul 22 1861 NS 08:49 29°Cp06' D
10.
By 1864, however, his expenditure on a grand scale and inveterate habits
of borrowing and living on others had brought him to financial disaster;
he had to flee from Vienna to avoid imprisonment for debt. The P-Moon
had entered Capricorn (the law and accountability) and was passing through
the eighth house of debt (the resources of others).
11.
He was suddenly rescued from his desperate financial straits by the
intervention of the young King Ludwig II, who had just ascended the
Bavarian Throne. Ludwig had been a fanatical admirer of Wagner (soul
ray four, personality ray six), had read the Ring Cycle with great enthusiasm,
and invited Wagner to come to Munich to complete his work on these operas.
Note
the transiting nodes (karmic connections) crossing first the Ascendant/Descendant
axis and then natal Uranus (the element of suddenness—the “bolt
out of the blue”); T-Jupiter also crossing N-Uranus (the benefaction).
Uranus and Jupiter together allow what the Tibetan calls a “beneficent
organization” (or, shall we say, re-organization). T-Jupiter crosses
the seventh house cusp (partnership), and transits the P-Vertex position
(the beneficence {Jupiter} of fate {Vertex}); P-Venus (the arts) begins
its conjunction of natal Jupiter (abundance). Note that Jupiter is the
ruler of the natal eighth house (the resources of others), hence patronage.
In rapid order, Wagner passed from a penniless state, also involving
the eighth house, to a condition of financial abundance which would
allow him to complete his great tetralogy. Note the lunar eclipse which
conjuncts his first degree Gemini Sun and his Venus position as well.
Mon
LEcl (X) Tr-Tr May 21 1864 NS 22:11 00°Sg40' D
12.
The King set him up in a villa, and during the next six years there
were successful Munich productions of all of Wagner's representative
works to date. During these six years, Jupiter makes its sweeping transit
through the upper hemisphere of the chart, beginning at the seventh
house cusp and ending at the Ascendant. Progressed Venus is in Leo,
and passes between natal Jupiter in Leo and the North Node. It was a
time for Venus, the Goddess of Beauty, to reveal Wagner’s full
gifts, and he was completely supported (Jupiter) in this revelation.
13.
During this Munich period he became the lover of orchestral conductor
Hans von Bülow's wife, Cosima, the daughter of Liszt. She bore
him three children—Isolde, Eva, and Siegfried—before her
divorce in 1870 and her marriage to Wagner in the same year. The progressed
activity of Venus was, it appears, favorable not only to art but to
love. In the marriage year, T-Jupiter crosses Wagner’s Ascendant
and natal Sun. Below are eclipses involving Wagner’s Moon, his
MC/IC (an axis often found involved in marriages, which, in a way, are
matters of state), and, most importantly, a solar eclipse on his Jupiter—a
planet which with great frequency, is an indicator of marriage. This
marriage was a great consummation (Jupiter). Additionally of note is
the transit of transformative Uranus conjunct the progressed Sun in
Cancer. Solar arc Uranus is also within less than a degree of the progressed
Descendant.
Mon
LEcl (X) Tr-Tr Jul 23 1869 NS 23:03 00°Aq41' D
Sun SEcl (X) Tr-Tr Aug 8 1869 NS 07:01 15°Le21' D
Mon LEcl (X) Tr-Tr Jan 17 1870 NS 23:47 27°Cn22' D Sun SEcl (X)
Tr-Tr Jul 28 1870 NS 20:02 05°Le07' D
14.
Although it was agreed with King Ludwig that the tetralogy in its entirety
should first be performed in Munich, Wagner broke the agreement, seeking
a more suitable site where a new opera-theatre, especially for that
purpose, could be built. The king supported this idea and in 1872, the
foundation stone was laid in the Bavarian town of Bayreuth. It is most
interesting and convincing that all during 1872, the planet associated
with archetypes and their grounding (Uranus) was conjuncting the proposed
Cancer IC, and Jupiter (the planet of fulfillment) was transiting there
also. This would apply, however, to all the charts under consideration—i.e.,
whether the IC is later Cancer or very early Leo. Certainly the ‘grounding’
or manifestation of Wagner’s great ideals was were in process.
These dreams and ideals were prepared by two solar eclipse conjunctions
on (or opposed) visionary Neptune and committed Vesta, immediately preceding
and during this period. The lunar eclipse involving the Sun is also
indicative.
Sun
SEcl (X) Tr-Tr Dec 12 1871 NS 13:03 19°Sg44' D
Mon LEcl (X) Tr-Tr May 23 1872 NS 08:17 02°Sg05' D
Sun SEcl (X) Tr-Tr Jun 6 1872 NS 12:19 15°Ge40' D
15.
The Ring received its triumphant first complete performance in the new
Festspielhaus at Bayreuth on Aug. 13, 14, 16, and 17, 1876. The progressed
Sun had entered Leo less than a year before. T-Jupiter (fulfillment)
was conjuncting both natal and progressed Uranus (the realization of
the “pattern in the heavens”). This Jupiterian transit conjunct
Uranus had occurred twelve years earlier when Ludwig first met Wagner—and
rescued him from poverty.
16.
In 1877 Wagner began composition on his last, and, perhaps, greatest,
work—Parsifal. He completed it in 1882 and it was performed in
Bayreuth that year. All during this period, the progressed Sun which
had emerged into Leo was active in the area of his natal Jupiter. During
this phase it can be presumed that he underwent a tremendous expansion
of heart understanding. He had entered a new era of thought and dharmic
initiative with his progressed MC now in Aries. Further, solar arc Uranus
(the Hierophant) was crossing his MC. This has to have been a spiritually
climactic period indicating a great transfiguration of the psyche through
the power of love and compassion. In the year Parsifal was performed,
transiting Jupiter again crossed in Ascendant, Venus and Sun, and once
again the transiting Nodes crossed his Ascendant/Descendant axis, and
Venus and the Sun also. Note the solar eclipse very close to his proposed
Ascendant during this year. The progress Vertex entered Capricorn. There
was a fulfillment of soul purpose.
Sun
SEcl (X) Tr-Tr May 17 1882 NS 16:37 26°Ta15' D
17.
Richard Wagner died of heart failure, at the height of his fame, and
was buried in the grounds of Wahnfried in the tomb he had himself prepared.
Transiting Pluto had already crossed the Ascendant in late Taurus about
a half year before, and had even touched, briefly, the degree of the
natal Sun in Gemini. The process of abstraction had commenced in 1882,
presumably, once Parsifal had been performed. The Solar Angel keeps
good time. Transiting Uranus moved opposed to natal Pluto, also in 1882,
thus intensifying the focus on the “Planet of Death”. On
the actual day of this death, T-Pluto was within a trine of the natal
MC, and still within a one degree orb of the proposed Ascendant. Decisive
was the rapid transit of Mars in Aquarius in exactly the same degree
as progressed Mars in Aquarius. Aquarius rules the circulation of the
blood, and reciprocally, the heart. Wagner was still in a period when
his progressed Mars in Aquarius was opposed his progressed Sun in Leo
(the heart). On the day of his death, transiting Mars exactly opposed
the progressed Sun as well. There had been a lunar eclipse on Wagner’s
Sun just a few months before. The soul had achieved its purpose.
Mon
LEcl (X) Tr-Tr Nov 25 1882 NS 10:51 02°Ge44' D
Initiatory
Status
1.
Richard Wagner was clearly an advanced (very advanced) human being.
He was largely Self-educated, and the success of that process indicates
his Self-inherited power as a soul.
2.
One sees brilliance of thought and the capacity to experience the entire
range of humanity’s emotional possibilities.
3.
As is the case with so many of those upon the fourth ray, his flights
of imagination and intuition outstripped his mastery of his personality
nature. In many ways, he, as a personality, was rebellious, unethical,
separative, proud, critical, etc. A host of vices demonstrated through
the way he treated his fellow human beings.
4.
Yet the scope of his thought and the greatness of his loving-understanding
expressed through music, clearly reveal him as one who knew the reality
of divinity—a living reality which must be revealed at and after
the third degree.
5.
The disciple is initiate before he is initiated. Wagner’s greatest
works are initiate works. Are they, equally, the works of an initiate?
That is another question.
6.
For so many years of his life he seemed to be passing through the torments
of one who had not yet subdued his personality. He acted in a manner
too erratic and infringed the rights of too many people. His own struggles
entered his music, but so did the idealized resolution of those struggles.
7.
One is reminded of Master D.K.’s thought about those who attains
initiation and those who do not:
“A
steady, unshaken perseverance, that recks not of time nor hindrance,
but goes on. This capacity to persevere explains why the non-spectacular
man so frequently attains initiation before the genius, and before the
man who attracts more notice. The capacity to plod is much to be desired”.
(LOM 340-341)
Wagner
was the spectacular man; Wagner was the genius. But Wagner was also
gifted with great powers of persistence and endurance—gathered
from Vulcan and Taurus.
8.
In so many cases the development of the mind and creative faculties
outstrips the moral development and the subduing of the personality.
The errors are blatant because of the proximity of greatness to those
errors.
9.
What was Richard Wagner if not the “rich young man”—abundantly
rich? There can be no question of his gifts and talents, and of his
world impact. Is this not the indication of an initiate upon the fourth
ray—to inspire millions with the transcendent beauty of one’s
creative work (as a test for the third degree)?
10.
Thus, it may be that Wagner was initiate (in many ways) before he was
initiated. He struggled towards initiate status (in all aspects of his
energy system), wrestling with his nature, morally imperfect, flagrantly
deficient of what some would call simple decency, yet possessed of an
artistry capable of raising and transforming the consciousness of many.
11.
Had Wagner remained as he had been during his thirties and forties,
one might question whether the transition into transfiguration had been
made. It might justly have been said that his art was in advance of
his individual attainment—that he rose into the initiated state
to create his operas, and fell into ordinary personality reactions for
the remainder of the time. But, it seems, something of profound spiritual
significance began to happen. Uranus crossed his Ascendant; Neptune
by solar arc direction crossed his Midheaven, Venus and the Sun by progression
contacted his natal Jupiter. As his spiritual development unfolded,
he sent the ancient gods to their destruction; Valhalla fell, leaving
in ruins a world view based upon struggle with and fated submission
to the chthonic and demonic forces of the unconscious psyche. Wagner,
as the hero of his own psycho-mythological journey, no longer sought
to conquer by strength alone (as Sigmund had, as Siegfried had) but
rather through faith and innocence—as the character Parsifal triumphantly
demonstrated.
12.
Thus, there occurred a great redemption and it took place, it would
seem, within the energy field of the Christ Force. Thus, it may be that
the rebellious personality (Mars) succumbed to the power of Jupiter
(second ray ruler of the causal body), and at last, the ancient authority
of the personality was broken. Perhaps, the lunar man entered at last
the realms where its soul had soared in divine realization for so many
years. Perhaps, under the fourth ray, “Two Merge(d) with One”,
and the power of the Ray of Love Wisdom supervened. It would seem that
this was the case.
Synthesis
One would like to follow the life of Richard Wagner carefully through,
from year to year to give a more complete account of the astrological
and spiritual unfoldment of one of the worlds great geniuses. All disciples
could learn much from such an analysis; time and space, however, do
not permit.
The
majority of students who will read these astrological profiles are found
upon the first and second rays, with some upon the third and seventh.
Few will be upon the fourth or fifth. It is always possible that, when
confronted with souls upon rays which are different from our own, we
may fail to interpret their lives properly, misunderstanding true achievement;
remaining blind to their true spiritual status because misled by superficial
indications. This is a danger when studying the life of the great fourth
ray/second ray initiate, Richard Wagner. His personal deficiencies may
loom too large and disguise the greatness of his inner nature.
In
assessing Wagner’s contribution to the elevation of human consciousness,
we discover that he changed forever the manner of operatic composition.
He created intoxicatingly beautiful masterpieces, which, even today,
inspire in us admiration, awe and wonder.. He synthesized the operatic
traditions of the past, and took them in an entirely new direction,
immeasurably deeper and more revelatory of the extremes of the human
psyche. Perhaps, through his music-dramas, he showed the way for man
to become more than man; for man to recognize the battle of the gods
raging within his conscious, unconscious and super-conscious life, and
to transcend that battle through the power of love. Wagner’s major
masterpieces can be understood as leading in a steady progression towards
redemption. What was the deepest meaning of his life? Only he could
answer that, and those on the inner side who see and know. Perhaps the
significance of his extraordinary contribution to humanity be expressed
in these words: “Redemption through Love expressed thorough music,
poetry and drama which, at their best, are a glorious embodiment of
the victory of that Love”.