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A Vienna Critic—“Judaism in Music”—The War of 1870—Wagner’s Second Wife—“The Thought of Baireuth”—Wagner-Clubs—The “Kaiser March”—Baireuth—Increasing Progress—Concerts—The Corner-Stone of the New Theatre—The Inaugural Celebration—Lukewarmness of the Nation—The Preliminary Rehearsals—The Summer of 1876—Increasing Devotion of the Artists—The General Rehearsal—The Guests—The Memorable Event—Its Importance—A World-History in Art-Deeds

A German Art—Efforts to maintain the Acquired Results—Concerts in London—Recognition Abroad and Lukewarmness at Home—The “Nibelungen” in Vienna—“Parsifal”—Increasing Popularity of Wagner’s Music—Judgments—Accounts of the “Parsifal” Representations—The Theatre Building—“Parsifal,” a National Drama—Its Significance and Idea—Anti-Semiticism—The Jewish Spirit—Wagner’s Standpoint—Synopsis of “Parsifal”—The Legend of the Holy Grail—Its Symbolic Importance—Art in the Service of Religion—Beethoven and Wagner—“Redemption to the Redeemer.”

THE LIFE OF WAGNER.

CHAPTER I.

1813-1831.

WAGNER’S EARLY YOUTH.

Richard Wilhelm Wagner was born in Leipzig, May 22, 1813. His father at that time was superintendent of police—a post which, owing to the constant movement of troops during the French war, was one of special importance. He soon fell a victim to an epidemic which broke out among the troops passing through. The mother, a woman of a very refined and spiritual nature, then married the highly gifted actor, Ludwig Geyer, who had been an intimate friend of the family, and removed with him to Dresden, where he held a position at the court theatre and was highly esteemed. There Wagner spent his childhood and early youth. Besides the great patriotic uprising of the German people, artistic impressions were the first to stir his soul. His father had taken an active interest in the amateur theatricals of the Leipzig of his day, and now the family virtually identified themselves with the practical side of the art. His brother Albert and sister Rosalie subsequently joined the theatre, and two other sisters diligently devoted themselves to the piano. Richard himself satisfied his childish tendency by playing comedy in his own room and his piano-playing was confined to the repetition of melodies which he had heard. His step-father, during the sickness which also overtook him, heard Richard play two melodies, the “Ueb’ immer Treu und Redlichkeit” and the “Jungfernkranz” from “Der Freischuetz,” which was just becoming known at that time. The boy heard him say to his mother in an undertone: “Can it be that he has a talent for music?” He had destined him to be an artist, being himself as good a portrait painter as he was actor. He died, however, before the boy had reached his seventh year, bequeathing to him only the information imparted to his mother, that he “would have made something out of him.” Wagner in the first sketch of his life, (1842) relates that for a long time he dwelt upon this utterance of his step-father; and that it impelled him to aspire to greatness.

His inclinations however did not at first turn to music. He was rather disposed to study and was sent to the celebrated Kreuzschule. Music was only cultivated indifferently. A private teacher was engaged to give him piano lessons, but, as in drawing, he was averse to the technicalities of the art, and preferred to play by ear, and in this way mastered the overture to “Der Freischuetz.” His teacher upon hearing this expressed the opinion that nothing would become of him. It is true, he could not in this way acquire fingering and scales, but he gained a peculiar intonation arising from his own deep feeling, that has been rarely possessed by any other artist. He was very partial to the overture to “The Magic Flute,” but “Don Juan” made no impression on him.

All this, however, was only of secondary importance. The study of Greek, Latin, mythology, and ancient history so completely captivated the active mind of the boy, that his teacher advised him seriously to devote himself to philological studies. As he had played music by imitation so he now tried to imitate poetry. A poem, dedicated to a dead schoolmate, even won a prize, although considerable fustian had to be eliminated. His richness of imagination and feeling displayed itself in early youth. In his eleventh year he would be a poet! A Saxon poet, Apel, imitated the Greek tragedies, why should he not do the same? He had already translated the first twelve books of Homer’s “Odyssey,” and had made a metrical version of Romeo’s monologue, after having, simply to understand Shakspeare, thoroughly acquired a knowledge of English. Thus at an early age he mastered the language which “thinks and meditates for us,” and Shakspeare became his favorite model. A grand tragedy based on the themes of Hamlet and King Lear was immediately undertaken, and although in its progress he killed off forty-two of the dramatis personae and was compelled in the denouement, for want of characters to let their ghosts reappear, we can not but regard it as a proof of the superabundance of his inborn power.

One advantage was secured by this absurd attempt at poetry: it led him to music, and in its intense earnestness he first learned to appreciate the seriousness of art, which until then had appeared to him of such small importance in contrast with his other studies, that he regarded “Don Juan” for instance as silly, because of its Italian text and “painted acting,” as disgusting. At this time he had grown familiar with “Der Freischuetz,” and whenever he saw