"Even if I know I shall never change the masses, never transform anything permanent, all I ask is that the good things also have their place, their refuge"
About this Quote
A flare of humility from a man not famous for it, Wagner’s line reads like a retreat and a demand at once. He concedes the obvious limit: art won’t “change the masses,” won’t harden into permanent reform. That admission isn’t defeatist so much as tactical. By lowering the stakes from revolution to refuge, he protects the value of the aesthetic against the era’s booming faith in progress, politics, and industrial “usefulness.” If society won’t be remade, he argues, it must at least make room for what keeps it human.
The phrasing is telling. “All I ask” performs modesty, but the ask is expansive: a protected zone for “the good things,” not as a garnish for public life but as a necessity that deserves institutional shelter. “Place” suggests legitimacy; “refuge” suggests siege. The subtext is that culture is being crowded out, trivialized, or instrumentalized - and that art’s survival may require something like sanctuary.
In Wagner’s context, that tension is personal and political. He lived through the churn of 1848 revolutions, exile, and a Europe where nationalism and modern bureaucracy were rapidly reorganizing life. He also spent a career building an argument for the total artwork - opera as a civic and almost spiritual architecture. The line quietly justifies that ambition: if you can’t save the world, you build a temple where the best of it can still happen.
The phrasing is telling. “All I ask” performs modesty, but the ask is expansive: a protected zone for “the good things,” not as a garnish for public life but as a necessity that deserves institutional shelter. “Place” suggests legitimacy; “refuge” suggests siege. The subtext is that culture is being crowded out, trivialized, or instrumentalized - and that art’s survival may require something like sanctuary.
In Wagner’s context, that tension is personal and political. He lived through the churn of 1848 revolutions, exile, and a Europe where nationalism and modern bureaucracy were rapidly reorganizing life. He also spent a career building an argument for the total artwork - opera as a civic and almost spiritual architecture. The line quietly justifies that ambition: if you can’t save the world, you build a temple where the best of it can still happen.
Quote Details
| Topic | Wisdom |
|---|---|
| Source | Help us find the source |
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