98 Nietzsche
between the modern production of myth and a self-mythologizing on
the part of the producer. For instance, Wagner launched his campaign
to conquer the Parisian music scene not with the performance of his
works but with the rental of a lavish apartment that he was absolutely
unable to afford. His intention was to rouse interest in himself; the effect
was what counted. Wagner stopped at nothing that held out the hope of
enhancing his image. The modern founder of a religion, Wagner was
also a gifted strategist in marketing his art. Nietzsche recognized
Wagner's cheap showmanship and flashiness quite early on. His note-
books of 1874 contained an entry about Wagner's "theatrical nature"
(7,756). Nietzsche was not adopting the disparaging tone here that he
employed later, but a skeptical undertone was already apparent. After
they had parted ways, he used harsher language for the composer whom
he now considered a swindler, calling Wagner a "Cagliostro of moder-
nity" (6,23; 5). Wagner's music was calculated to appeal to listen-
ers whose taste followed the maxim "Whoever throws us over is strong;
whoever elevates us is divine; whoever plants suggestions in us is pro-
found" (6,24; CJF§ 6).
During the earliest stages of composing the Ring cycle, Wagner
became convinced that this music drama ought not to be performed in
the customary opera houses. He needed a space that would direct all
attention to the action onstage, captivate the audience, and convey the
appropriate gravity. He envisioned the audience being drawn out of
everyday life and gathered over the course of several days in a place that
existed for this sole purpose. For a specified period of time, a trans-
formed communal life would be organized around the stage, as a pre-
view of life in "the free beautiful public sphere." Wagner anticipated that
entrance fees would not be required; he was counting on government
subsidies and private sponsors to cover the expenses. Initially he wanted
to establish his theater on the Rhine and proclaim the foundation of a
"great dramatic festival" (Müller/Wapnewski 592). Eventually, he set-
tled on Bayreuth, which fell within the dominion of his patron, King
Ludwig II of Bavaria, whose support would be crucial. Friedrich