| | TABLE OF CONTENTS: PREFACE vii
CHAPTER ONE: Love's Madness, Fairy-Tale Enchantment, and a Sicilian Carnival: Die Hochzeit, Die Feen, and Das Liebesverbot 1
CHAPTER TWO: On the Uses and Disadvantages of History for the Music Drama-Grand Opera: Die hohe Braut, Rienzi, and Their Consequences 29
CHAPTER THREE: The Transformations of Ahasuerus: The Flying Dutchman and His Metamorphoses 79
CHAPTER FOUR: Venus in Exile: Tannhüuser between Romanticism and Young Germany 101
CHAPTER FIVE: Lohengrin: The Mythical Palimpsest of Wagner's Last Romantic Opera 147
CHAPTER SIX: Love and Objectification in the Music Drama: Tristan's Isolde and Her Sisters 157
CHAPTER SEVEN: Nuremberg as an Aesthetic State: Die Meistersinger, an Image and Counterimage of History 180
CHAPTER EIGHT: The Myth of the Beginning and End of History: Der Ring des Nibelungen 212
CHAPTER NINE: Redemption and Apocatastasis: Parsifal and the Religion of the Late Wagner 238
CHAPTER TEN: An Encounter between Two Anomalies: King Ludwig II and Wagner 261
CHAPTER ELEVEN: Wagner and Bismarck: An Epoch-Making Nonrelationship 279
CHAPTER TWELVE: Two-Faced Passion: Nietzsche's Critique of Wagner 288
CHAPTER THIRTEEN: Parallel Action: Thomas Mann's Response to Wagner 308
CHAPTER FOURTEEN: The Disinherited Heir to the Throne: Franz Wilhelm Beidler, Wagner's "Lost Grandson"-a Postlude 329
NOTES 338
INDEX 383
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