“All in this world is jesting. 
  Man is born to be jolly,
  E’en from grief some happiness wresting
  Sure proof against melancholy.”

WAGNER.

Richard Wagner, who has been somewhat ironically called the musician of the future, and whose music has been relegated to posterity by a considerable number of his contemporaries, was born at Leipsic, May 22, 1813.  After his preliminary studies in Dresden and Leipsic, he took his first lessons in music from Cantor Weinlig.  In 1836 he was appointed musical director in the theatre at Magdeburg, and later occupied the same position at Koenigsberg.  Thence he went to Riga, where he began his opera “Rienzi.”  He then went to Paris by sea, was nearly shipwrecked on his way thither, and landed without money or friends.  After two years of hard struggling he returned to Germany.  His shipwreck and forlorn condition inspired the theme of “The Flying Dutchman,” and while on his way to Dresden he passed near the castle of Wartburg, in the valley of Thuringia, whose legends inspired his well-known opera of “Tannhaeuser.”  He next removed to Zurich, and about this time appeared “Lohengrin,” one of his most favorite operas.  “Tristan and Isolde” was produced in 1856, and his comic opera, “Die Meistersinger von Nuernberg,” three years later.  In 1864 he received the patronage of King Louis of Bavaria, which enabled him to complete and perform his great work, “Der Ring der Nibelungen.”  He laid the foundation of the new theatre at Baireuth in 1872, and in 1875 the work was produced, and created a profound sensation all over the musical world.  “Parsifal,” his last opera, was first performed in 1882.  His works have aroused great opposition, especially among conservative musicians, for the reason that he has set at defiance the conventional operatic forms, and in carrying out his theory of making the musical and dramatic elements of equal importance, and employing the former as the language of the latter in natural ways, has made musical declamation take the place of set melody, and swept away the customary arias, duets, quartets, and concerted numbers of the Italian school, to suit the dramatic exigencies of the situations.  Besides his musical compositions, he enjoys almost equal fame as a litterateur, having written not only his own librettos, but four important works,—­“Art and the Revolution,” “The Art Work of the Future,” “Opera and Drama,” and “Judaism in Music.”  His music has made steady progress through the efforts of such advocates as Liszt, Von Buelow, and Richter in Germany, Pasdeloup in France, Hueffer in England, and Theodore Thomas in the United States.  In 1870 he married Frau Cosima von Buelow, the daughter of Liszt,—­an event which provoked almost as much comment in social circles as his operas have in musical.  He died during a visit to Venice, Feb. 13, 1883.

RIENZI.