Wagner as I Knew Him

by Ferdinand Praeger

CONTENTS.

[CHAPTER I.]
1813-1821.
PAGE
“The child is father to the man”—Musician, poet, and dramatist—Stagereformer—His grandfather a customs officer—His father,Frederick Wagner, an officer of police, student, and amateur actor—Deathof Frederick, 1813—His mother—Eldest brother,Albert, a tenor singer—Sisters Rosalie, Louisa, and Clara, actressesof repute—Ludwig Geyer, a Leipzic actor—Marries WidowWagner—Family removes to Dresden—Affection of his step-fatherand mother for him—The girls receive piano-forte lessons—Richardreceives a few lessons in drawing from Geyer—Beyondthis, up to his ninth year, no regular education is attempted withhim—Geyer not of a robust constitution—Wagner plays thebridal chorus from “Der Freischütz” by ear—Geyer’s predictionand death	[1]
[CHAPTER II.]
1822-1827.
His visit to an uncle Geyer at Eisleben—The Kreuzschule, Dresden—Hisfacility for languages—His modesty—Wagner a smallman—Personal appearance described—Wonder of school professorsat unusual mental activity of the delicate small boy—Aprey to erysipelas—Love of practical joking—Incident of theKreuzschule roof—An adept in all bodily exercises—His acrobaticfeats—Love for his mother—Affection for animals	[10]
[CHAPTER III.]
1822-1827. Continued.
Richard Wagner enters the Kreuzschule, Dresden, December, 1822—Translationof part of the “Odyssey” by private work—Beginsto learn English to read Shakespeare—Writes prize elegy in Germanyat eleven years of age—Theodore Körner, pupil of theKreuzschule and poet of freedom—Metrical translation of Romeo’smonologue—His first lessons on the piano—Hatred of fingerexercises—Berlioz—Up to fourteen his aspirations distinctlymusical	[20]
[CHAPTER IV.]
LEIPZIC, 1827-1831.
Return to Leipzic—The Stadttheater; Rosalie and Louise—Jews,their treatment by Leipzic townspeople—Wagner’s attitude towardsthem—His first love a Jewess—At the St. Nicolas school threeyears, St. Thomas school and the University a few months each—Describeshimself during his Leipzic school-days as “wild, negligent,and idle”—Reprehensible gambling of his mother’s pension—Crisisof his life—Haydn’s symphonies at the theatres andBeethoven’s symphonies in the concert-room—Beethoven a pessimist—Haydnand Mozart optimists—Resolve to become a musician—Privatestudy of theory—His first overture, 1830, laughedat—His marvellously neat penmanship—Takes lessons fromCantor Weinlig—Writes a sonata without one original idea orone phrase of more than common interest—Beethoven his dailystudy—Weber and Beethoven his models—Combines in himselfthe special gifts of both, the idealism of the former and the reasonedworking of the latter	[26]
[CHAPTER V.]
1832-1836.
Revolution and romanticism at the beginning of the nineteenth century—Itseffect on Wagner—First grand symphony for orchestra—Mendelssohnand Wagner—Wondrous dual gift of music andpoesy—Portion of an opera, “The Wedding,” engaged at Würzburg—AlbertWagner—Life at Würzburg—First opera, “TheFairies”—Schroeder-Devrient and “The Novice of Palermo”—Stagemanager at Magdeburg, 1834—Views upon German Nationaldrama and national life	[44]
[CHAPTER VI.]
1836-1839.
Life and troubles at Magdeburg—Wagner marries—Minna Planer:the woman, her home, her trustful love—Reflections on his lifeat Magdeburg—His ability as a conductor of the orchestra andsingers—Popularity of Auber and Rossini—Renewed trials atKönigsberg, 1837—Success of Meyerbeer—Paris the ruler ofGerman taste—Wagner’s ambition of going to Paris—Sendssketch of new libretto to Scribe—No answer—Writes an overtureon “Rule Britannia,” and sends it to Sir George Smart—Notnoticed— Wagner’s impressions of stage life after his experienceat Würzburg, Magdeburg, and Königsberg—Visit to Dresden and“Rienzi”—Conductor at Riga, 1839—His difficulties increase—Paristhe sole hope of relief—Resolves to go to Paris—Sets sailfor London—“The Champagne Mill”—Arrival in London	[55]
[CHAPTER VII.]
EIGHT DAYS IN LONDON, 1839.
First impression—Puts up at cheap hotel in Old Compton Street,Soho—Loss and return of the dog—Visit to a house in GreatPortland Street where Weber died—Thoughts on English characterand London sights—Visit to Greenwich Hospital—Leaves byboat for Boulogne	[69]
[CHAPTER VIII.]
BOULOGNE, 1839.
Passage to Boulogne—The Mansons, friends of Meyerbeer—Wagner’svisit to Meyerbeer—Character of Meyerbeer—Interestshimself in the youthful Wagner—The reading of “Rienzi” libretto—Eulogiumof Meyerbeer and promises of help—Meyerbeer feelshis way to the purchase of the “Rienzi” book—Wishes Scribe towrite one for him similarly spectacular—Wagner and his wife at arestaurant; champagne the “perfection of terrestrial enjoyment”—TheMansons advise him to stay in Boulogne—The “Rienzi”music pleases Meyerbeer, who also, to Wagner’s annoyance, praiseshis neat writing—The “Das Liebesverbot” draws further laudationfrom Meyerbeer, and the success of Wagner is prophesied—“Lepetit homme avec le grand chien” leaves Boulogne forParis	[78]
[CHAPTER IX.]
PARIS, 1839-1842.
The sanguine Wagner boldly invades Paris—Later reflections of thebitter sufferings he underwent there— Why he went to Paris—Germanyoffers no encouragement to native talent—Wagner hasbut a slight acquaintance with the French tongue—Seeks outMonsieur Louis, who becomes and remains his most devoted friend—Withassistance of Louis, engages modest apartments—Endeavoursto deliver his letters of introduction—Unsuccessful—Withoutoccupation—His poverty—Help from Germany for a short time—Theirsadly straitened circumstances—In absolute want—Writesfor the press; Schlesinger—“A pilgrimage to Beethoven,” imaginary—Hecomposes three romances, imaginary—Still in want,forced to the uncongenial task of “arranging” popular Italianoperas for all kinds of instruments—Minna Wagner: her goldenqualities and admiration of Wagner—Minna performs all the menialhousehold duties—Bright and cheerful temperament soothes thedisappointed, passionate Wagner—His birthday tribute—His subsequentacknowledgment of her womanly devotion—The artistshe met in Paris—Heinrich Laube, an old Leipzic friend, introduceshim to Heine—Meeting of the trio—Laube and Heine asworkers—Schlesinger, music-publisher, becomes his friend—Schlesingerupon Meyerbeer—Wagner and Berlioz in Paris andLondon—The two compared—Wagner’s opinion of Berlioz andhis agreement with Heine—Halévy—Vieuxtemps—Scribe—Kietz	[83]
[CHAPTER X.]
PARIS, 1839-1842. Continued.
The Paris sojourn the crucial epoch of Wagner’s career—The grandopera the hothouse of spurious art—Concessions to anti-artisticinfluences—Realism of the historic opera irreconcilable with hisown poetic idealism: why?—Is infected with the revolutionaryspirit of the age—From now we date the wondrous change in hisart work—Protests through the “Gazette Musicale” against Italiancomposers dominating the French stage to the exclusion of nativeworth—Rebuked by Schlesinger—The Conservatoire de Musique;its performances solid food to Wagner—“Music a blessed reality”—Probabilitythat the unrealities of the French stage broughtRichard Wagner to a quicker knowledge of himself—Wagner’sestimate of French character—Their poesy—His tact—Feelingof aversion towards the military and police—His compositions—Ayear of non-productivity—Assertion of the poet—Proposalby Schlesinger that he should write a light work for a boulevardtheatre—Refuses—Is put to bed with an attack of erysipelas whichlasts a week—“Overture to Faust”: “the subjects not music, butthe soul’s sorrows transformed into sounds”—Minna and his dog—Wagner’slugubrious forebodings and short novel, “End of a GermanMusician in Paris”—Completes “Rienzi,” which is sent toGermany—The “Flying Dutchman”—How the subject came tobe adopted—Heine’s treatment of Fitzball’s version—The originalstory as told by Fitzball—Libretto completed, delivered to thedirector of the grand opera, who bargains for it—Superiority oflegend over history for musical treatment—Wagner and his meaningof the “Dutchman” anecdote related at Munich, 1866—Theone of his music-dramas that occupied the shortest time in composition—Itis sent to Meyerbeer—News from Dresden—“Rienzi”accepted, leaves for Germany	[99]
[CHAPTER XI.]
DRESDEN, 1842-1843.
New and hopeful prospect—Feels assured of “Rienzi” proving successful—Ignoredby Paris, received with open arms by Dresden,the hallowed scene of Weber’s labours—Joy at returning home aconqueror—A new life for Minna—Reissiger, chief conductor ofthe Royal Opera—Fischer, the manager and chorus director, hisfriend—His “Rienzi” and “Adriano”—First performance of“Rienzi”—Unmistakable success—Wagner appointed co-chiefconductor with Reissiger—My own first acquaintance with RichardWagner—August Roeckel, the man, friend, and musician—Hisletter describing Wagner—Intimacy and political sway overWagner—Visit of Berlioz to Dresden—His opinion of the“Dutchman” and “Rienzi”—The father of Roeckel tutored byBeethoven in the part of Florestan—Meetings of Richard Wagnerand Hector Berlioz—Cold bearing of the latter	[114]
[CHAPTER XII.]
1843-1844.
Hostility of the Dresden press—Wagner’s energy and good humourwhen at the conductor’s desk—A born disciplinarian—Unflaggingefforts to improve the spiritless performances of master works—Interestevinced by Spohr, who stigmatizes Beethoven’s thirdperiod as barbarous music—Wagner affects to ignore and despisecriticism—In reality is abnormally affected by it—Attacks on hispersonal attire, home comforts, and manner of living—Wagner inseclusion—His tribute to the constancy and devotion of AugustRoeckel—Wagner’s opinion of Marschner and Mendelssohn’s“Midsummer Night’s Dream”—The “Faust” overture unsuccessful—Spontiniand the “Vestal”—Visit of Wagner andRoeckel to Spontini—Weber obsequies—Max von Weber withme in London—Reception of the body in Germany—Funeraloration delivered by Richard Wagner—Comparison betweenWagner’s public and private manner of utterance	[124]
[CHAPTER XIII.]
1845.
“Tannhäuser”: story of its composition, poem and music—Its performance,1845—First mention of Richard Wagner’s name in theLondon press—The criticisms (?) of 1845—An instance of thethoroughness of Richard Wagner—Dawn of the 1848 revolutionand Wagner’s relation thereto—The follower of August Roeckelexpresses regret at his heated language—Performance of theChoral Symphony under Wagner—Unusual activity displayed inthe preparations—The way he set to work—Part explanationwhy I came to induce the London Philharmonic to invite him tothis country—His grasp of detail—Forethought displayed inwriting an analytical programme to acquaint audience with themeaning of the work—Successful performance—Characteristicsof Richard Wagner—His opinion of Italian opera and dictumthat an art work to endure must be founded in reason and reflection—“Lohengrin”:its popularity—“Music is love”—The networkof connection between Wagner’s operas—Thoughts about“Lohengrin” remaining on earth—Wagner never able to control hisfinances—His position becomes embarrassed—At enmity with theworld—Composition of “Lohengrin”—Letter to his mother—Passionatenature of Wagner—Complete identification of himselfwith his art—The manner of his accepting services—His courageinspires our admiration—The publication by himself of “Rienzi,”“Dutchman,” and “Tannhäuser”—A failure—“Tannhäuser”offered to the firm of Cramer, Beale, & Co. by me for nothing—Refused	[136]
[CHAPTER XIV.]
1848.
Wagner significantly silent as to his participation in the Saxon Revolution,1848-49—Wagner an active worker—Conclusive proof—Amember of the “Fatherland Union”—Paper read by Wagnerbefore the Union—His character—Charge of ingratitude towardshis king absurd—Deputation to king of Saxony—The fourdemands of the people—Refused—Leipzic determines to marchen masse on Dresden—Reforms promised—Founding of the“Fatherland Union”—Political leaflets printed and distributed—Wagnerreads his paper June 16, 1848: “What is the relationthat our republican efforts bear to the monarchy ?”—Printedby the Union—Copy forwarded to me at the time—Reproducedhere—It is omitted from Wagner’s “Collected Writings”—Animportant document, since it forms part of the official indictmentagainst Wagner—The paper treats of (1) relation ofrepublic to monarchy; (2) nobility appealed to and urged to joinin the commonwealth; (3) abolition of first chamber; (4) manhoodsuffrage advocated; (5) creation of national armies; (6)communism a senseless theory and its reign impossible; (7)appeal to improve the impoverished condition of the masses bytimely concessions; (8) founding of colonies; (9) the greatestand most far-reaching reforms only possible under a republic ofwhich the monarch is the head; (10) the king logically the firstrepublican ; ( 11 ) “subjects” converted into “free citizens”; (12)war against the office of king and not against the person; (13)laudation of the Saxon potentate; (14) Wagner’s fidelity to theking; (15) advocates the abolition of the monarchy—Nationalarmies—Roeckel, Wagner’s assistant conductor, dismissed, autumn,1848—Founds a political paper; Wagner contributes—Roeckelimprisoned for three days—The elections—Triumph of the democraticparty—Roeckel elected a deputy—Revision of taxationand civil list—Subsidy to the theatre: Wagner defends it in paperdelivered to minister; Roeckel to defend it in the chamber—Detailsof the paper	[151]
[CHAPTER XV.]
1849-1851.
The new Chamber of Deputies—The king of Saxony refuses to acceptthe constitution formulated by the federated German parliament—Thechambers dissolved by the king—Wagner urges Roeckel toleave Dresden for fear of arrest—Roeckel leaves for Prague—Hainberger,Bakunin, and Semper—The outbreak—Wagner’sincriminating note to Roeckel—Return of Roeckel—Wagner incharge of convoys—Characteristic incident—Roeckel taken prisoner—Originof the revolt—Its character—Source of the governmentcharge against Wagner—Heubner, Bakunin, and Roeckelimprisoned—Sentenced to death—Commuted—Actual partplayed by Wagner—He carries a musket; heads a barricade—Wagnernot personally brave—His flight to Weimar—Liszt andthe police official—Wagner in Paris—Naturalized at Zurich—Proclamationby Saxon government, June, 1853, directing thearrest of Wagner—The government indictment summarized—RichardWagner amnestied, March, 1862—Important letter fromWagner, March 15, 1851, to Edward Roeckel of Bath, detailinghis own share in the Revolution—Attempts of biographers to glossover Wagner’s participation in Revolution—Wagner to blame—Conflictingextracts from Wagner’s early and later writings as tohis precise share—The case summarized	[170]
[CHAPTER XVI.]
1850-1854.
Wagner seeks an asylum in Paris—His reception disappointing—Leavesfor Switzerland—A second time within the year he returnsto Paris—Again vexed at the little recognition he meets with—Finallysettles in Zurich and becomes a naturalized subject—Reflectionson the French and their attitude towards art—Hisabruptness of speech, impatience of incapacity, and vehementdeclamation wear the air of rudeness—Episode at Bordeaux—Hepossesses the very failings of amorousness, Hebraic shrewdness,and Gallic love of enjoyment denounced by him in others—AtZurich unable to settle to work for some time—His exile thegrandest part of his life as regards art—Period of repose—Forfive years not one single bar of music did he compose—Describeshis Zurich life as spent in “walking, reading, and literary work”—Hisliterary activity—Writes “Art and Revolution,” “The ArtWork of the Future,” “Art and Climate,” “Judaism in Music,”and “Opera and Drama”—The period of his banishment thecradle of nearly all his great music-dramas: the “Nibelung’s Ring,”“Tristan and Isolde,” the “Mastersingers,” and a fragment of“Parsifal”—His pretty chalet, “The Retreat,” at Zurich. TheWesendoncks—Compares himself to the philosopher Hegel—Thefirst printing of the Nibelung poem, 1853—Resents allusion to itas a work of literary merit—Recites portions of the lied—AtZurich conducts the opera house—Hans von Bülow his pupil—Wagner’sfestival week at Zurich—Chapelmaster Lachner’s prizesymphony—His health always bad: dyspepsia and erysipelas—Athydropathic establishments—His love for the animal kingdom—Anecdoteof “Peps,” the Tannhäuser dog	[194]
[CHAPTER XVII.]
“JUDAISM IN MUSIC.”
The importance attached to the question—The paper said to havebeen prompted by personal jealousy—Absurdity of the accusation—TheLondon press hostile because of his Jewish criticisms uponMendelssohn and Meyerbeer—The “Sunday Times” asserts that“the most ordinary English ballad writer would shame him in thecreation of melody, and no English harmonist would pen such vilethings”— The words he uttered in 1852 in the Judaism paper laydeep in his heart, and he adhered to them in 1855 and 1869—Wagnerof opinion that his ostracism and suppression for manyyears were due alone to the power of the Jews—Publication ofthe article—Attempt to dismiss Brendel from his professionaloffice at the Leipzic conservatoire—Wagner asserts an involuntaryrevulsion of feeling towards the Jews—The Jew always a foreigner—Wagner’sSemitic antipathy partly inherited—Cannot understandthe natural humane treatment of the Jews by the English—Admitsthe glorious history of the Jews compared with the annalsof the German barbarians—A Jew actor as a hero or lover “ridiculous”—Thisassertion contradicted by instances—The Jew offensiveto Wagner in his speech, as regards intonation and manner—Theirabsence of passion—Incapable of artistic speech, the Jew ismore incapable of artistic song—His unreasoned attack on thelack of Jewish plastic artists—Further indulges in the vulgarcharge of usury—Attacks the cultivated Jew—The Jew incapableof fathoming the heart of our civilized life—Cannot compose forthose whose feelings he does not understand—The synagogue thelegitimate sphere for the Hebraic composer—Outside this theJewish musician can only imitate Gentile composers—Criticismupon Mendelssohn—Criticism upon Meyerbeer severe and unsparing—Meyerbeer’sattitude towards the critics—Cordially hatedby Wagner—Wagner’s own attitude towards the London critics	[205]
[CHAPTER CHAPTER XVIII.]
1855.
How Wagner came to be invited to London—I appear before thedirectors of the Old Philharmonic—I find that they either knowvery little of him or nothing at all—Richard Wagner visited atZurich by a director—The New York “Musical Gazette”—TheLondon press upon Wagner—Condemned before he is heard—Thecause, “Judaism in Music”—Wagner’s agreement with thePhilharmonic directors—Imposes two conditions: (1) a secondconductor; (2) several rehearsals—Gives way as to the first, butinsists on the second—Will not lend himself to anything unworthy—Letterof 18th January—In accepting the Philharmonic engagementWagner “makes a sacrifice,” but feels he must do this orrenounce forever all relations with the public—Projects a wholeconcert of his works—The directors refuse—Irritation of Wagner—Letterof the 1st February—No special plan for his Londonexpedition except what can be done with a celebrated orchestra—Stateshe does not know English and is entirely without gift formodern languages—Enmity of the editor of the “Musical World”(London), who confesses that Wagner is a “God in his books,but he shall have no chance here”—Richard Wagner’s arrival,midnight, Sunday, 5th March, 1855—His head-gear—Objects tochange his felt hat—His democratic principles of 1849 now modified—Visitto Mr. Anderson—The Lachner symphony proposed—Volcanicexplosion of Wagner—Would cancel his engagementrather than conduct Kapellmeister music—Wagner’s objectionacceded to—Visit to Sainton and Costa—Wagner refuses to callon any critics or pay any other visits of etiquette—At dinner—Wagnerdainty—Quick though moderate eater—His workroom—Self-denialnot his characteristic—His intrepidity borders closeupon the reckless—Introduction to the Philharmonic orchestra—Brieflyaddresses them—Diplomatic, but his will law—Theconcert—Programme—His conducting—The “Times” abuses him—Afterthe concert, at Wagner’s rooms—His playing the piano—Hissinging like the barking or howling of a Newfoundlanddog—Well pleased with his first introduction to an English audience—Hisvolubility—Abuse of fashion and white kid gloves fora conductor—The second concert—“Lohengrin” prelude, overtureto “Der Freischütz,” “Ninth Symphony”—Overture encored—Wagnerobjects to encores, but enthusiasm of audience demandsthe repetition—“Lohengrin” prelude a surprise, as Wagner’smusic had been described “noise and fury”	[218]
[CHAPTER CHAPTER XIX.]
1855. Continued.
The “Ninth Symphony” rehearsed—Surprise of the orchestra—Guildhall,Fafner, and Falsolt—The mint and his projected theatre—Dailypromenade of Richard Wagner with dog to Regent’s Park tofeed the ducks—Wagner and the introduction of the animal kingdomupon the stage—Unlimited means the key to his passion forrealism—Unlimited means the dream of his life—The third concert;“Euryanthe”—Wagner’s habit of snuff-taking while at thepiano—His smoking—His irritability—Love for silks and velvetspartly due to physical causes—Anger at shams—“Punch” onWagner—Fourth concert; Wagner insists on leaving Englandnext morning and breaking his engagement—Dissuaded—Fifthconcert; success of the “Tannhäuser” overture—Wagner’s forty-secondbirthday; violet velvet dressing-gown—Signs himself“Conductor of the Philharmonic omnibus,” in allusion to the“full” programmes—Cyprian Potter—The Queen, Prince Consort,and Richard Wagner—Repetition of “Tannhäuser” overture—Berliozand Wagner—The press and anonymous articles—Anxietyof Wagner to serve Berlioz—The last concert anddeparture from London, 26th June—A few quotations from thecontemporary press	[241]
[CHAPTER CHAPTER XX.]
1855-1856.
Letters of Wagner—In Paris—Home at Zurich—Domestic pets—“Criesconstantly” at the death of “Peps”—Buries the dog—Minnaill—Wagner on a sick-bed—His acquaintance with theFrench language—The French of Berlioz and Wagner compared—Letterin French from Wagner—He is “more luxurious thanSardanapalus and all the old Roman emperors”—His frame ofmind during the composition of the Walküre—Study of Schopenhauerand request for London snuff	[268]
[CHAPTER CHAPTER XXI.]
ZURICH, 1856.
A picture of Minna—Wagner an early riser—His acquaintance withSchopenhauer—Wagner a pessimist?—The first promptings of“Tristan and Isolde”—How did Richard Wagner compose?—Themanner of Beethoven, Haydn, and Wagner compared—Wagner’sthumping—Admits he is not at his best when improvising—Schaffhausen—Thelions—Wagner’s extravagance—Duke ofCoburg’s offer—The Wesendoncks	[288]
[CHAPTER CHAPTER XXII.]
1857-1861.
His health “shattered”—Goes to Venice—Returns to Paris—Residesin Octave Feuillet’s house—The strong opposition of thepress—The origin of the performance of “Tannhäuser”—Thestory of the cabal and disaster	[300]
[CHAPTER CHAPTER XXIII.]
LETTERS FROM 1861-1865.
Letters from Wagner	[309]
[CHAPTER CHAPTER XXIV.]
1865-1883.
Munich—Wagner in low spirits—His relations with the young kingof Bavaria—His house—Fearlessness of speech—Presence ofmind—Intrigues against him—Leaves for Geneva—Return toMunich—Treatment of the king—Approaching change in Wagner’slife—Madame von Bülow—Wagner’s second marriage—Lettersfrom him—Under a new light—His love for home—“Siegfried”—Lucerne—Wagnerat home—Peace—His autobiography—Hisopinion of Liszt—The end—Wagner’s workand character	[317]

WAGNER AS I KNEW HIM.

CHAPTER I.
1813-1821.

SELDOM has the proverb “The child is father to the man” been more completely verified in the life of any prominent brain-worker than in that of Richard Wagner. The serious thinker of threescore, with his soul deep in his work, is the developed school-boy of thirteen lauded by his masters for unusual application and earnestness. All his defects and virtues, his affections and antipathies, can be traced to their original sources in his childhood. No great individuality was ever less influenced by misfortune or success in after-life than Wagner. The mission he felt within him and which he resolutely set himself to accomplish, he unswervingly pursued throughout the varied phases of his eventful career. Beyond contention, Richard Wagner is, I think, the greatest art personality of this century,—unequalled as a musician, great as a poet as regards the matter, moral, and mode of expression, whilst in dramatic construction a very Shakespeare. With an ardent desire to reform the stage, he has succeeded beyond his hopes; and well was he fitted to undertake such a gigantic task. His family—father, step-father, eldest brother, and three sisters—and early surroundings were all connected with the stage. Cradled in a theatrical atmosphere, nurtured on theatrical traditions, with free access to the best theatres from the first days his intellect permitted him to enjoy stage representations, himself a born actor, and with earnestness as the rule of his life, it is no matter for surprise that he stands foremost among the great stage reformers of modern times.

By birth he belonged to the middle class. A son of the people he always felt himself; and throughout his career he strove to soften the hard toil of their lot by inspiring in them a love for art, the power to enjoy which he considered the goal of all education and civilization. To him the people represented the true and natural, untainted by the artificiality that characterized the wealthy classes.

HIS FATHER, FREDERICK WAGNER.

Painstaking, energy, and ability seem to have been the attributes of Wagner’s ancestors. His paternal grandfather held an appointment under the customs at Leipzic as “thorschreiber,” i.e. an officer who levied toll upon all supplies that entered the town. Family tradition describes him as a man of attainments in advance of his station, a characteristic which also distinguished his son Frederick (Richard’s father). Frederick Wagner, born in 1770, also held an appointment under the Saxon government. A sort of superintendent of the Leipzic police, he spent his leisure time in studying French. Although unaided, he must have attained some degree of proficiency; as subsequently he was called upon to make use of it, and it proved of great service to him. He was a man of literary tastes, and was famed in Leipzic for his great reading and knowledge. Goethe and Schiller were then the beacon-lights of young German poetry. Their pregnant philosophical reasoning, clothed in so attractive, new, and beautiful a garb, fascinated Frederick Wagner, and he made them his serious study—a love which was inherited by his son Richard, who oft in his literary works refers to Goethe and Schiller as the two greatest German poets.

Like all natives of Leipzic he was passionately fond of the stage. The enthusiasm of all classes of society in Leipzic for matters theatrical is historic. Frederick Wagner attached himself to a company of amateur actors, and threw himself with such zest into the study of the histrionic art as to achieve considerable distinction and court patronage. The performances of this company were not unfrequently open to the public; indeed, at one time, when the town theatre was temporarily closed, the amateurs replaced the regular professionals, the Elector of Saxony evincing enough interest in the troupe to pay the hire of the building specially engaged for their performances.