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CHAPTER I.
1813–1821.
ОглавлениеSELDOM 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.