Abstract

I examine Roger Scruton's account of the religious and soteriological significance of Wagner's Tristan and Isolde . The relation between Scruton and Wagner remains unclear, and the position at issue is a curious amalgam of the two. I refer to its author as ‘Scruton's Wagner’. Scruton's Wagner argues that erotic love has religious and soteriological significance, and that the notions of religion and salvation are to be defined in terms which are shorn of any reference to God. I argue that there may be good reasons for setting these limits short of God, but that Scruton's Wagner does not provide them