It would be a longer story than all the "Stories from Wagner" put together, to tell where these tales began and how they grew. Centuries before they were set to music in the soul of Richard Wagner, some of them had been chanted around rude camp-fires by savage-looking men clad in the skins of animals. They were repeated by word of mouth long before even the rudest art of writing was learned; and in various lands they were known, though the stories often differed. For in those days men believed in spirits, good and bad, and in giants, dwarfs, gods and goddesses. They told these stories to their children, just as real history is taught to-day; and later the legends were treasured not only for their deep interest but also because they showed how people lived and thought, long ago "while the world was in the making."

When Wagner, the great music-dramatist of Germany, was writing his wonderful operas, he found much of this rich material lying ready at his hand. Other parts he adapted to suit his needs. And it is the form in which he used the tales that has been followed in the simple retelling in the present volume; hence the justice of the title—"Stories from Wagner." Let us pause a moment to see who this author was, and how he came to collect his themes.

Richard Wagner's career extended over the better part of the last century. He was born at Leipzig, May 22, 1813; he died at Venice, February 13, 1883. His whole life was a struggle, for his musical ideas were unlike any that had gone before. But he lived to witness a splendid triumph; and to-day his operas are produced more often than those of any other composer.

The following is the order in which the operas were first given:—

Rienzi, 1842

The Flying Dutchman, 1843

Tannhäuser, 1845

Lohengrin, 1850

Tristan and Isolde, 1865

The Master Singers, 1868

The Ring of the Nibelung, 1878

Parsifal, 1882

When Wagner was just beginning his career, he was in great doubt as to the choice of subjects for his operas. His first famous work, "Rienzi" was based upon Italian history. The English novelist, Bulwer-Lytton, has written a noted novel, using the same title and groundwork.

The legend of "The Flying Dutchman," which Wagner next chose, is one of the best-known sea-myths in existence. In every country sailors tell of a mysterious ship that is seen in times of danger or distress. The captain of this vessel bears many names, but it is believed that the varying tales are only versions of one original legend. The German poet, Heine, wrote one version, and from this Wagner obtained the first idea for his opera.

With "Tannhäuser," Wagner entered upon the purely German themes which he was thenceforth to find so rich a mine. This story like many others was extremely old, yet it had been treated only rarely. Ludwig Tieck had written some verses upon it, and from these Wagner got his idea. Owen Meredith, the English poet, has also given us a charming version entitled "The Battle of the Bards." While Tannhäuser himself has been seldom written about, Walter von der Vogelweide—the minnesinger, and friend of Tannhäuser in the opera,—is the subject of many poems, one of the last being by Longfellow. Sir Walter is set down in German history as an actual person, and many things are told about his marvellous gift of song.

Wolfram von Eschenbach—another historic character found in the operas—once wrote a famous old poem entitled "Parzival." Here Wagner discovered the germ of his beautiful story of "Lohengrin," following the lines of an old and well-nigh forgotten legend. The opera of "Parsifal" though not completed till more than thirty years later was also conceived at this time, and remained a cherished project. Legends of the Holy Grail, with which it deals, are familiar in every Christian country. There is much in the characters of both Parsifal and Lohengrin to remind us of Tennyson's Sir Galahad, in "Idylls of the King," which treats of the Holy Grail.

In "Tristan and Isolde" we have another legend which was well known during the Middle Ages. It was known in Wales, Ireland, Brittany and Germany where it was a frequent theme with minnesingers, or wandering minstrels, like Walter von der Vogelweide. One of the earliest German authors to write down a version of it was a certain Godfried of Strasburg; and Wagner had at his command this and numerous other versions. English poets, also, have been greatly attracted by the tale. Sir Walter Scott, in "Thomas the Rhymer," told the simplest version. Matthew Arnold, Tennyson, and Swinburne have given notable poems of some length on the subject.

During the Middle Ages, and particularly in the thirteenth century, the city of Nuremberg was the seat of a famous musical guild, or training-school for poets and singers. In his "Master Singers," Wagner has followed history for his scene, characters and traditions, though he has made droll use of them. The Master Singers have left substantial proof that they really lived. There are poems still in existence, signed by Sixtus Beckmesser, Veit Pogner and others; while Hans Sachs has left whole volumes behind, and his memory is so revered that he is looked upon almost as the patron saint of his city. Longfellow says in his poem on "Nuremberg":

"Here Hans Sachs, the cobbler-poet, laureate of the

gentle craft,

Wisest of the Twelve Wise Masters in huge folios

sang and laughed!"

Wagner also obtained his idea for the contest of song from one of Hoffmann's novels entitled "Sängerkrieg." He made use of the same idea in "Tannhäuser."

Although "The Ring of the Nibelung," Wagner's grand lifework, was not presented until 1876, he had been

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