It is customary to divide the artistic career of Wagner into three periods, the first embracing the production of the early works and "Rienzi," the second that of "Der Fliegende HollÄnder," "TannhÄuser," and "Lohengrin," and the third that of the remaining works. It is the opinion of the present writer that the recognition of four periods would make the matter clearer to the lover of this master's creations. The early works, which are not heard except in one or two places, may be left out of consideration. We may then classify "Rienzi" as the production of the first period. "Der Fliegende HollÄnder" should stand in a period by itself, as representing the purely embryonic epoch of the true Wagner, while "TannhÄuser" and "Lohengrin" may properly be allotted to a third or transition period. The remaining works may be regarded as belonging to the period of the mature Wagner, though there would be no serious difficulty in subdividing this part of his artistic career. It seems to me, however, that no satisfactory end would be gained by doing so.

The reader of this book has already seen that in writing "Rienzi" Wagner was actuated by purposes entirely different from those which moved him in the creation of "Der Fliegende HollÄnder." The first of the lyric dramas presently to be examined was, as its maker said, a grand opera pure and simple. Then came the days of despair in Paris, when Wagner, hoping nothing for the future, gave free rein to his artistic impulses and produced the dramatic story of the unhappy Vanderdecken. In the creation of this drama nothing influenced Wagner's mind but the desire to write according to the dictates of his own artistic conscience. But he had not yet worked out a scheme of dramatic composition. He had only just come upon the fundamental ideas of his plan. Its details were still far away from his conception. "Embryonic," then, is the term to apply to this period of his productivity.

With "TannhÄuser" there entered into the field of his artistic vision those broader musical and ethical conceptions of the lyric drama which afterward developed themselves into a complex and influential system. With "Lohengrin" we see these ideas taking more definite shape. The literary and musical plan of the drama is more closely organised, and the musical style is more clearly defined. The diction becomes more akin to that of later works, and the methods show more certainty and more mastery. "Lohengrin" is a long advance beyond "Der Fliegende HollÄnder." It prepares us for such a work as "Die Meistersinger," though hardly in full for "Parsifal." It must be borne in mind that the original conception of "Die Meistersinger" belongs to the same period as "Lohengrin," and that although the music was not written till long afterward, the score must naturally have been coloured by the first thoughts of the work and so have come somewhat under the influence of the "Lohengrin" style.

In the early dramas we meet with Wagner's inclusion of ethical ideas in his designs. One seeks in vain among the old popular operas of the Rossini or Meyerbeer schools for a drama with a moral. But owing to Wagner's adoption of the myth as the material from which to erect his dramatic structures, the inclusion of an ethical lesson in each of his schemes followed almost inevitably. For mythology is essentially ethical. Wagner, however, humanised the teachings of the mythologies into which he delved by emphasising the beautiful idea of the saving grace of woman. He did not, perhaps, deliberately adopt as the motto of his works the line of Goethe, "The woman-soul leadeth us ever upward and on," but it may be inscribed upon them without violence to their intent. We may see by an examination of the original sources of the dramas how the importance of this thought in the works is due to the deliberate purpose of Wagner himself to bring it to the front. In some of the original stories it plays little or no part, but in the Wagner music drama the "Ewig-Weibliche" is always impressed upon the imagination of the auditor with all the skill of the dramatist and all the eloquence of the musician.

In "Lohengrin," as the reader can see for himself, the master made a special point of excluding the operation of this principle, because he desired to bring forward a study of a woman who had no love in her nature. With Wagner the woman-soul could be influential for good only when acting under the guidance of love. Ortrud acted under the dictates of hate, and her influence was therefore destructive, but ultimately futile. The reader will readily perceive the dramatic, poetic, and musical value of this thought. In all the Wagnerian dramas we are confronted with studies of the warring of good and evil principles. When the good principle is identified or associated with the love of woman, and that love is made the saving grace of its object, the dramatic force of the story is splendidly intensified, the scope of the poetry and the music immeasurably widened. Especially is the music benefited by the possibility of identifying the highest ethical idea of the poem with the most beautiful and potent of its emotions; for it is the peculiar privilege of the music to voice the emotional content of the drama, and when this becomes one with the ethical idea, the auditor is led by the music into the very shrine of the poet's imagination. The reader will note, too, that in those dramas in which the love of a woman does not figure as a saving influence, the tragic fate of the hero is accentuated, and the woman herself is made a more conspicuous embodiment of grief.

In most of the works of Wagner there is to be found a philosophical or metaphysical basis, and this is most easily discovered in the later dramas. The poet-composer was at different times deeply influenced by the writings of Feuerbach and Schopenhauer. From the former he obtained some of the vaguer conceptions of his philosophy, but the latter supplied him with definite ideas. It was in the early fifties that Wagner was a student of Feuerbach, and his mind eagerly caught at the thoughts contained indefinitely in such phrases as "highest being—the community of being," "death, the fulfilment of love," and such declarations as "only in love does the finite become the infinite." These ideas later took clearer shape in his mind when he gathered from Schopenhauer the sharply cut description of the negation of the will to live as the highest abstraction and elevation of thought.

With love figuring as a community of being, with death as its highest fulfilment, and with the absolute effacement of the desire of life as the loftiest aspiration of human passion, Wagner was equipped with a philosophical background for several of his most dramatic conceptions, notably for "Tristan und Isolde." Yet one has no difficulty in understanding his own assertion that the negation of the will to live and the community of being had entered his mind in an indefinite shape long before he read the works of the two philosophers, for they may be traced in the story of "Der Fliegende HollÄnder."

Some of Wagner's biographers, notably Houston Stewart Chamberlain, to whom this master was little short of a divinity, have devoted much space to the consideration of Wagner as a philosopher. The truth is that he was never a philosopher at all in the strict sense of that term. He was a groper after philosophies. He sought for a rational foundation for his artistic theories and endeavoured to found them upon metaphysical tenets borrowed from works which seemed to meet his needs. But there is no difficulty in perceiving that what always appealed to him in a philosophy was its poetic or dramatic material. That he was sometimes mistaken as to the real value of that material is not astonishing. The best text-books of Wagner's philosophy are his dramas. Therein one finds that the ethical side of a philosophy was what touched him most directly, and that it did so because of its close relation to the principles underlying the tragic in human experience. This is paying a higher compliment to Wagner than to call him a philosopher, for it is practically asserting that his dramatic nature was his guiding star.

It is easy to note that in "Der Fliegende HollÄnder" Wagner more nearly rid himself of those hampering historical details to which he objected than he did in "TannhÄuser," and more especially than in "Lohengrin." The legend of the "Flying Dutchman" was not one of the great world-thoughts, but it had the advantages of being founded on an incident which might be repeated at any time and in any place—namely, the periodical landing of the wanderer. In "TannhÄuser" and "Lohengrin," and in "Parsifal," Wagner used material found in the great cycle of tales belonging to the Christian mythology of Germany, England, and France. He found himself unable to avoid introducing some of the historical details contained in the original stories. Because of their sources and nature these three dramas have been classed as the Christian trilogy of Wagner in contradistinction to the Nibelung works, which are called the pagan trilogy. While this classification is justified by the nature of the works, it should be remembered that Wagner himself repudiated any intention to produce works charged with a religious purpose. Ethical ideas, indeed, he always cherished, but he denied that he taught Christianity. He recognised the assistance which art had given to religion, and he saw that in Greece the dramatisation of national religious beliefs had given to the stage a power unknown in modern times. But he himself was too wise to dream of making the lyric drama a mere corollary or illustration to the pulpit text. A passage in "A Communication to My Friends," quoted in the account of his resumption of work on "TannhÄuser," explains the mood which governed him in the composition of the score. He says that at the time he was yearning for a pure and unapproachable ideal of love. "What, in fine," he continues, "could this love-yearning, the noblest thing my heart could feel, what other could it be than a longing for release from the present, for absorption into an element of endless love, a love denied to earth and reachable through the gates of death alone?... How absurd, then, must those critics seem to me, who, drawing all their wit from modern wantonness, insist on reading into my 'TannhÄuser' a specifically Christian and impotently pietistic drift!"

We may now proceed to the study of the great dramas which have for so many years been the joy of the artistic mind and the torture of the indolent. The last word of this author on the subject of studying these dramas is this: Learn the text. By the text the music must be measured. By the text the music must be understood. By the music the text is illuminated and made vital. But every measure of Wagner's music is explained by the poetry. It is useless to go to the performance of a Wagner drama with your mind charged with thoughts of the music. Think of the play and let the music do its own work. That is what Wagner himself asks you to do, and it is the only fair test to which to put him. If his music vitalises the drama for you, it matters not whether you know the leading motives or the harmonic scheme or the orchestration. The work of the music is accomplished. But that work cannot be accomplished if you are in the dark as to its purpose. And in the dark you must always be unless you have a full knowledge of "what is going forward on the stage." To gain that you must know the entire text. Therefore the written word of the drama is your guide to its comprehension.