Editing Das Judenthum in der Musik (section)

==The original article of 1850==
The first version of the article appeared in the ''NZM'' under the pseudonym of K. Freigedank ("K. Freethought"). In an April 1851 letter to [[Franz Liszt]], Wagner stated that he used a pseudonym "not out of fear, but to prevent the question being dragged down by the Jews to a purely personal level".<ref>Wagner (1987) p. 221-2.</ref> Ironically, this same letter also reveals Wagner's deep personal antipathy for Meyerbeer as partially motivating the essay, who reminds him of the “darkest” period of his life.

In the essay, Wagner criticizes the artistry of Jews. Wagner argues that Jewish participation in European music represents not a contribution to its enrichment, but rather a symptom of a cultural epoch in decline.

Wagner uses [[Felix Mendelssohn]] and a contemporary, unnamed Jewish opera composer (Meyerbeer) as examples to argue that while Jewish artists may achieve technical proficiency, their works ultimately fail to resonate deeply with the spirit of true artistry. This disconnect stems from an inherent outsider perspective that Jewish artists have towards European cultural traditions, which prevents them from creating art that genuinely reflects these traditions' spirit. 

Wagner’s negative assessment of Meyerbeer's music was not in isolation, but was in fact in tune with the prevailing critical consensus in Germany at the time, according to which Meyerbeer's works displayed "rhythmic monotony and undue eclecticism, elevating contrived effect above genuine dramatic tension".<ref>Wagner (1987), p.975</ref> Wagner accuses Meyerbeer's audience in [[Paris]] as seeking cheap distractions from their boredom, rather than desiring engagement with a real art that challenges and elevates them.

Wagner reflects on an emotional "[[Disgust|instinctive repulsion]]" towards Jews that remains in European society at large despite high-minded liberal social emancipation efforts, and a lack of genuine [[Social integration|integration]] or [[acceptance]] of Jews. Wagner argues this repulsion needs to be acknowledged and discussed, rather than suppressed and ignored, so once the specific details of its triggering are understood, could steps be taken to resolve the social friction between Jews and non-Jews.

Despite calls for understanding and reconciliation, the essay is rife with insulting and provocative [[antisemitism]]. Wagner harshly attacks the Hebrew language, speech patterns, and appearance of Jews as aesthetically unpleasing and unsuited for artistic expression. In one metaphor, Wagner suggests that just as worms consume a body after it has died, so do Jews take over a European culture's music after its native vitality has diminished.