The truth of the matter is always overlooked: the geniuses are revealed to the public in an intimacy non-historical characters are not subjected to. But if you will turn from reading the pages of history, biography, or memoirs, and take up any newspaper of the day, you will doubtless be astounded to find how small a percentage of the divorces, the murders, and other domestic scandals are to be blamed to the possession of genius, unless, as one might well, you recognise a special and separate genius for trouble.
Patience conquers all things, if one lives long enough, and at length even Wagner's innumerable woes were solved by the appearance of a veritable deus ex machina let down from heaven. But Wagner was over fifty when the tardy god arrived. It was in 1864 that he became the idol and the pet of the young king, Ludwig II. of Bavaria, who sent a courier ransacking Europe almost in vain for the fugitive, and, at last finding him, dumbfounded him with fairy promises, presented him with a villa, and treated him to a splendour few musicians have ever known, except perhaps Lully, and Farinelli, who became the vocal prime minister of the truly good king Ferdinand VI. of Spain. Wagner's relations with Ludwig were of a sort which Mr. Finck euphemises as "Grecian." This was seemingly not the only instance in his career; but it brought him furious enmity as soon as he had found friendship.
Poor Minna never shared with Wagner his period of luxury. But it was of such magnificence that his envious foes accused him of aiming to dethrone religion from its throne, and substitute art as the Pope! Among the attacks made on Wagner at this time was the charge that, while he was lolling on a silken couch which had cost him $12,000, his neglected wife was starving to death in Dresden. Minna was honourable enough to answer this attack with an open letter to those German newspapers which, in 1866, outjaundiced that yellow journalism for the invention of which New America has been blamed.
Minna wrote as follows:
"The malicious rumours concerning my husband, which have been for some time published by Vienna and Munich newspapers, oblige me to declare that I have received from him up to this day an income amply sufficient for my maintenance. I take this opportunity with the more pleasure as it enables me to put an end to at least one of the numerous calumnies launched against my husband."
A few weeks later, on January 25, 1866, she died at Dresden of heart disease. She had suffered all the miseries that earn success, without ever tasting their sweets. To say whether or not she deserved to taste the sweets would demand a more ruthless and unforgiving verdict upon one of the two unfortunates than I have the heart to render. The marriage had been the wedding of a near-sighted woman and a man who could see hardly anything nearer than the Pleiades. Neither was more to blame than the other for the fault of eyesight. It was simply a case of connubial astigmatism.
While Wagner was living on terms of strange intimacy with the young king, he was accused of Oriental luxury. The selection of the rainbow furnishings of his house and of his own dressing-gowns, which made Joseph's coat mere negligée, was not altogether his own, but showed the unmistakable guiding hand of a woman. Frau Cosima von Bülow acted as a sort of secretary to Wagner. She was the daughter of Liszt; her mother was the Comtesse d'Agoult, who wrote under the name of "Daniel Stern," and with whom Liszt had lived for a few years. Cosima had married Hans von Bülow in 1857.
Von Bülow had in his earlier years been greatly befriended by Liszt and by Wagner. In 1850, when Von Bülow was about twenty years old, Wagner and Liszt both had written to his mother, who was then divorced, begging her to let her son take up music. Like Schumann's mother, she opposed music as a career, but Von Bülow persisted, and became Liszt's pupil. Wagner was to Von Bülow a god. It was a pitiful practical joke that Fate should have directed the god's favour toward the worshipper's wife. But those ugly old maids, the Fates, have never had a sense of good form.
As early as 1864 Wagner had written to Frau Wille, complaining of Von Bülow's misfortunes, and saying: "Add to this a tragic marriage; a young woman of extraordinary, quite unprecedented endowment, Liszt's wonderful image, but of superior intellect." Wagner persuaded the king to make Von Bülow court pianist, and later court conductor. There are very pretty accounts of the musical at-homes of the Von Bülows and Wagner.
Then Wagner's popularity with the king eventually raised such hostility that, at the king's request, he left the country to save his life. He was again an exile. Cosima, with her two children, went with him, and later Von Bülow came, but he soon had to go to Basle to earn his living as a piano teacher, and left his family at Lucerne. There exists a letter from Wagner's cook, telling a friend of how the king came incognito to visit Wagner, and how the house was upset by the descent of Cosima and her children. They had come to stay. At Triebschen, near Lucerne, Wagner lived with the Von Bülow family, and began to know contentment.