Abstract

In "Stanley Cavell and the Limits of Appreciation," Ted Cohen restates his hatred of Richard Wagner's music. Cohen hears something "very nasty" in Wagner's music, "an element of Nazism," to borrow Thomas Mann's phrase for what Mann, too, found disturbing in Wagner.1 Whereas Mann was still able to value Wagner's music, Cohen despises listening to it. Cohen realizes that his revulsion sets him apart not only from Mann but also from W. H. Auden, who praised Wagner's "consummate skill" in creating heroes and heroines who exhibit the irrationality and self-destructiveness of human nature "in all its formidable enchantment."2 Cohen notes how another eminent listener, Arturo Toscanini, also thought Wagner's music worth...