Chapter II: Richard Wagner (2)

"I would Minna were here with me; we might, in the excitement that now moves fast around me, grow again the quiescent pair of yore. The whole thing is annoying. I am not in good spirits: I move about freely, and see a number of people, but my misery is bitter."

Minna herself seems to have toyed with the idea of reconciliation, for she wrote to Praeger, who told Wagner, and received the following bitter complaint:

"And so she has written to you? Whose fault was it? How could she have expected I was to be shackled and fettered as any ordinary cold common mortal? My inspirations carried me into a sphere where she could not follow, and then the exuberance of my heated enthusiasm was met by a cold douche. But still there was no reason for the extreme step; everything might have been arranged between us, and it would have been better had it been so. Now there is a dark void, and my misery is deep."

A year later, Wagner's regret is not yet dead, and he writes to Frau Wille:

"Between me and my wife all might have turned out well! I had simply spoiled her dreadfully, and yielded to her in everything. She did not feel that I am a man who cannot live with wings tied down. What did she know of the divine right of passion, which I announce in the flame-death of the Walküre who has fallen from the grace of the gods? With the death-sacrifice of love the Dusk of the Gods (Gõtterdammerung) sets in."

And again he bewails his loneliness to Praeger:

"The commonest domestic details must now be done by me; the purchasing of kitchen utensils and such kindred matters am I driven to. Ah! poor Beethoven! now is it forcibly brought home to me what his discomforts were with his washing-book and engaging of housekeepers, etc., etc. I who have praised woman more than Frauenlob, have not one for my companion. The truth is, I have spoiled Minna; too much did I indulge her, too much did I yield to her; but it were better not to talk upon a subject which never ceases to vex me."

Yet he was destined to know wedded happiness some years later. And he showed that he could make happy a woman who could understand him. As Mr. Finck comments:

"The world is apt to side with the woman in a case like this, especially if her partner is of the _irritabile genus_, a man of genius. No doubt, Minna had much to endure, and deserves all our pity; but that her husband is not to blame in this matter, is shown by the extremely happy and contented life he led with his second wife, Cosima, the daughter of Liszt, who _did love_ and understand him."

It is a proverb that the woman who marries a genius marries misery, but I think there are instances enough in this book to show that genius has nothing to do with the case. Wedded happiness is a result of the lucky meeting of two natures, one or both of which may be accidentally so constituted as to be happy in the other's society without undue restlessness. It would be just as easy to prove, by a multitude of instances, that plumbers or bookkeepers, doctors, lawyers, merchants, or thieves make poor husbands as to prove the same of musicians, artists, poets, architects, or geniuses of any kind.

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.

The relations of Wagner and Cosima rapidly grew intimate enough to torment even the idolatrous Von Bülow. Riemann says: "Domestic misunderstandings led, in 1869, to a separation, and Von Bülow left the city." One of the "domestic misunderstandings" was doubtless the birth of Siegfried Wagner, June 6, 1869. A speedy divorce and marriage were imperative. The chief difficulty in the securing of the much desired divorce was that Cosima must change her religion, or her "religious profession," to use the more accurate phrase of Mr. Finck, who says that Wagner in his life with her, had "followed the example of Liszt and Goethe and other European men of genius, an example the ethics of which this is not the place to discuss."

Von Bülow secured his divorce in the fall of 1869. He remarried, in 1882, the actress, Marie Schanzer. Wagner and Cosima were married August 25, 1870. This was the twenty-fifth birthday of King Ludwig, and Glasenapp comments glowingly upon the meaning of the marriage:

"To the artist, who in the first great rumblings of the war of 1870-71, greeted the dawn of a new era for his people, the same hour proved to be the beginning of a new chapter. On Thursday, the 25th of August, 1870, in the Protestant Church of Lucerne, in the presence of two witnesses, one, the lifelong friend of the Wagner family, Hans Richter, the other, Miss M.v.M., the wedding of Richard Wagner to Cosima, the divorced wife of Hans von Bülow, was celebrated.

"There is no other union which Germans ought to deem more holy. None have ever been entered into with less selfishness, with higher impersonal sentiments. It united the great homeless one, who had suffered so much and so long under the heartlessness and unappreciative neglect of his contemporaries, to a wife, who stood beside the friend of her father, the ideal of her husband, with cheerful encouragement _(mit theilnahmvollster Sorge_), until she as well as her husband realised that she was the one chosen to heal the wounds which the artist had suffered in his restless wanderings and through numberless disappointments. The time had arrived when the hand of love prepared the last and never-to-be-lost home.

"This knowledge gave the noble-minded woman the courage to sever the ties, which in early youth had tied her to one of our most eminent artists, and the best of men; to give up herself to her task, to consecrate her life to him, to be the helpmeet of the man to whom through friendship and the inner voice of her heart, and the knowledge of noble duty, she had already belonged. The world did not hesitate to malign this holiest act of fidelity. Only the small and the low are overlooked, the high and the great are ever the victims."

Just two months before the marriage, Wagner had written to Frau Wille, who had invited him and his wife-to-be to visit her, an account of his feelings in the matter, which is beautiful enough and sincere enough to quote at some length:

"Certainly we shall come, for you are to be the first to whom we shall present ourselves as man and wife. To get into this state, great patience was required; what has been for years inevitable was not to be brought about until all manner of suffering. Since last I saw you in Munich, I have not again left my asylum, which, in the meanwhile, has also become the refuge of her who was destined to prove that I could well be helped, and that the axiom of many of my friends that I 'could not be helped' was false! She knew that I could be helped, and she helped me: she has defied every disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful and vigorous boy, whom I boldly call 'Siegfried': he is now growing, together with my work, and gives me a new, long life, which at last has attained a meaning. Thus we get along without the world from which we had retired entirely. But now listen: you will, I trust, approve of the sentiment which leads us to postpone our visit until I can introduce to you the mother of my son as my wedded wife. This will soon be the case, and before the leaves fall we hope to be in Mariafeld."

A pleasant view of the new domesticity that had come into Wagner's life is an elaborate surprise he planned for his wife. He composed with great secrecy the "Siegfried Idyll," that most royal musical welcome that ever baby had. Hans Richter collected a band of musical conspirators and rehearsed the work. On the morning of Cosima's birthday, the orchestra stealthily collected on the steps of the house, and with Wagner as conductor, and with Hans Richter as trumpeter, Cosima's thirtieth birthday was ushered in with benevolent auspices, the child being then a year old. The Idyll itself, as Mr. Finck says, "is not merely an orchestral cradle-song; it is the embodiment of love, paternal and conjugal."

A new reward for his long and stormy career was the realisation of the Bayreuth dream--the building with hands of a material castle in Spain. Besides this opera-house of his own, to be consecrated to his own works, Wagner was given a home. He and his wife left the villa at Triebschen, on the lake at Lucerne, with much regret. For there he had been able to work in perfect seclusion, under the protection and forethought of the devoted Cosima. His new villa at Bayreuth he called "Wahnfried," setting over the door a fresco of mythological figures, symbolising music and tragedy; in whom are portrayed Cosima Wagner, his final ideal, and Wilhelmine Schroeder-Devrient, who had been his first inspiration, and also figures of Wotan and Siegfried; the former being the portrait of Franz Betz, the singer of the rôle, and the latter being the child Siegfried Wagner. Beneath the frescoes he put the words: "Hier wo mein Wähnen Frieden fand, Wahnfried sei dieses Haus von mir benannt,"--which may be Englished: "Here, where my illusions respite found, 'Illusion-Respite' let this house by me be crowned."

In this home, plain in its exterior, but full of richness within, Wagner lived at ease with his wife and her four children. Von Bülow, the father of two of them, had found strength to be true to his first beliefs in Wagner's art crusade, and to continue his friendship with the man, though delicacy forbade his entering the home, to which he had regretfully but gracefully resigned his wife, like Ruskin, though not for the same reasons. Once he broke forth in his dilemma: "If he were only some one that I could kill, he would have been dead before this." But he could not interfere with "the great cause," and even Liszt, after some estrangement, was reconciled to Wagner.

Here Wagner's existence went tranquilly and busily on for twelve years, till he was at the threshold of his three-score and ten. And now the genius, whom we saw but lately juggling with starvation in the slums of Paris, we find a figure of world-wide fame, with an annual income of $25,000 and the ability to travel to Italy in a private car. But this luxury was his last, for his health was on the ebb. And though he took a suite of twenty-eight rooms in the Palazzo Vendramin, in Venice, with his wife, his own two children, Siegfried and Eva, aged twelve and fourteen years, Daniela and Isolde, Cosima's two children by her first husband, and two teachers, four servants, and many guests, this was but a splendid sarcophagus; for here Wagner had but less than half a year to live. Those who would know more of the daily comforts and suffering of this time, can read it in Perl's book, "Richard Wagner in Venedig." He suffered constantly more and more from heart trouble and other torments. One day his servant heard him calling, and, hastening to his side, found him on a divan writhing in agony; his last words were: "Call my wife and the doctor." Cosima flew to his aid, but could not hold back the inevitable. When the doctor came and told her that Wagner had finished his struggle with the arch-critic, Death, she screamed and fainted. For twenty-six hours she refused to leave his body or to take any food, and could be dragged away only when she had fainted from exhaustion.

And now, the erstwhile exile, living on the pittances he could wheedle from his few disciples, died in the fame of the world. Three kings sent wreaths to his funeral, and the city of Venice twice asked for the privilege of giving him a final pageant. But Cosima strangely would have no ceremony at all, and no music. "She feared it would rend her heart in twain," says Mr. Finck, "so the procession moved along the canal in solemn silence, broken only by the tolling of the distant bell."

The railroad station was guarded as for the funeral of a monarch. The express-train was not stopped at the border of the three countries through which it passed. When the coffin was taken to the grave in Bayreuth, it was followed by the two large dogs that had shared, as so many of their fellows, the goodness of his large heart.

As for the widow, she is still living as I write, and still unwearied in behalf of his glory. In her he had found that ideal of womankind which he had so much upheld: instant and dauntless obedience to the behest of the one great love. When he died he was even then at work upon a glorification of the sex, and the last sentence that ever flowed from his pen related to a legend of the Buddhists, granting women a right to the saintliness previously claimed by men alone.

Once he had written: "Women are the music of life," and of his "Brünnhilde" he had said: "Never has woman been so glorified as in this poem." For the reward of this trust in womankind, he had also had the privilege of saying, "In the hearts of women it has always gone well with my art."

And in his grave, where he lay, his head rested upon the long blonde tresses of Cosima, which he had so admired, and which, with final sacrifice, and as a last tribute, she had sacrificed to bury with him.