Abstract In his essay “La judéité dans la musique,” Richard Wagner’s horrid portrayal of a Jew by way of physical, economical, linguistic and musical description exposed his anti-Semitic convictions. Much of this aspect has either been forgotten or softened, however, when evoking Wagner, it is in fact the relationship between his anti-Semitism and his work that is the most problematic. This paper proposes to consider three symbolic forms through which this reticence is expressed by looking at the the theoretical writings, opera booklets and their music. Using the Beckmesser character in Les Maîtres Chanteurs de Nuremberg, although Beckmesser is not introduced as a Jew but rather a good German bourgeois, one cannot deny the allegory positioning him as a Jew. First element of demonstration: the analogical resemblance between Beckmesser and the Viennese music critic Eduard Hanslick to whom Wagner accused of hiding his Jewishness. Second element: it has already been proven that Beckmesser’s serenade sung during the second act to the Master Singers was a mockery of a Jewish prayer. Third element: in Cosima’s, Wagner’s wife, diary she explains that this particular piece generated at that time a strong reaction by the Jewish community in Vienna, thus supporting the claim that his antisemitism was already known and problematic to his contemporaries.

中文翻译：

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瓦格纳法学院和不同形式的辩护律师

摘要理查德·瓦格纳（Richard Wagner）在他的论文《犹太人的音乐》（Lajudéitédans la musique）中，通过物理，经济，语言和音乐上的描述对犹太人进行了可怕的描写，暴露了他的反犹太主义信念。这方面的大部分内容都已被遗忘或被淡化，但是，当唤起瓦格纳时，实际上最成问题的是他的反犹太主义与其作品之间的关系。本文提出了三种象征形式，通过观察理论著作，歌剧小册子及其音乐来表达这种沉默。尽管贝克梅瑟并不是以犹太人身份介绍的，而是一位优秀的德国资产阶级，但在《 LesMaîtresChanteurs de Nuremberg》中使用贝克麦瑟的角色时，却不能否认他是犹太人的寓言。示范的第一要素：贝克梅瑟与维也纳音乐评论家爱德华·汉斯里克（Eduard Hanslick）之间的类比相似之处，瓦格纳（Wagner）被指控隐瞒了他的犹太人身份。第二要素：已经证明，贝克梅瑟在第二场向大师歌手演唱的小夜曲是对犹太祈祷的嘲弄。第三个要素：在瓦格纳的妻子科西玛的日记中，她解释说，这件作品当时引起了维也纳犹太社区的强烈反响，因此支持了他的反犹太主义已经为他的同时代人所熟知和存在问题的说法。