Act III., 308;
abandoned, as impossible, 118; accepted at Vienna, 118; art-theories in, 316; Arthurian legends, now Gallicised, 296; begun, 109; book written, 295; Celtic origin of story, 295 _et seq._; conception of, 106, 107, 108, 294; day and night, riddles of, 306-308; death, basic thought of drama, 304, 306, 311, 312; death, idea in Isolde's mind, 302, 303; death, yearning for, 311, 312; emotions, treatment of, 316 _et seq._; Fate, workings of, in drama, 311; finished, 110; first act written, 109; first performances, 293; Gottfried's version, 297; Isolt of the White Hand, 299, 300, 314; King Mark, his "sermon," 313, 314; legend, fundamental idea of, 301; leitmotiv system in, 315, 316; love of Tristan and Isolde not caused by the magic drink, 301, 310; "Liebestod," musical germs of, 324, 327; Liszt on, 107; metaphysics in, 312; musical plan of drama, 314; music, 315 _et seq._; _see also_ LEADING MOTIVES; music, general plan of, 318 _et seq._; music, third act, 314, 320; music, when written, 295; narrative of Isolde, 303; organic union of arts in, 312, 317, 318; original casts, 293; "O sink' hernieder," 307, 324; pessimism in Act II., 310, 313; potion, office of, 301, 304, 305, 310; prelude, 321; produced at Munich, 127; production, difficulties of, 111, 125; pronounced impossible, 122; Schopenhauer's influence in, 312, 313; second act sketched, 110; sources of, 108, 295 _et seq._; sources of, Wagner's treatment, 300 _et seq._; story, completions of, 299, 300, 314; story, Gottfried's, 297; story, oldest versions of, 297; story, origin of, 295 _et seq._; story, Wagner's version, 300 _et seq._; text, character of, 317; torch in Act II., 305; wound, Tristan's, meaning of, 307, 308
Troubadours, influence on German song, 330
Troyes, Chrétien de, 297
"Two Grenadiers," 42
U
"Ueber das Dirigen," 58, 134
Unger, George, 141
V
Viceroy of Egypt, 139
"Victors, The," 108
"Victory," the, 108
Vogl, Heinrich, 131; Therese, 131, 132
Volsunga Saga, 73; corollaries of, 378; origin of, 377; story told in, 378 _et seq._
Von Bülow, Cosima, 90, 112, 125, 130, 132, 133
Von Bülow, Hans, 90, 112, 124, 130, 131, 132
Von Bülows, the, separation of, 130, 132; divorce of, 133
W
Wagenseil, Johann Christoph, 335
Wagner, Albert, 2, 15; wife and daughter, 2
Wagner, Cosima, 133, 134, 153, 160; _see also_ Von Bülow
Wagner, Friedrich, 1
Wagner, Johanna, 2, 65, 138
WAGNER, RICHARD, abandonment of career contemplated, 119; affection of, 103; ambition to reach Paris, 30; America, asked to visit, 104, 159; amnesty, 118; ancestry, 1; appearance of, 162; appreciates his own genius, 121; approach of death, 149, 150; artistic aims of, 167 _et seq._; artistic impulse, 158, 159; art-theories, _see separate title_; attachment to Cosima von Bülow, beginning of, 125; attitude toward public, 55, 67; autobiographic sketch, 52; autobiography, unpublished, 153; ballet and, 487; Bayreuth, goes to, 136; Bayreuth, work at, 137 _et seq._; Biebrich, visit to, 120; birth, 2; boyhood, 3 _et seq._; boyish tragedies, 4; Buddhistic drama, rumours about, 153; burial of, 152; calumniated, 130; character of, 29, 103, 154 _et seq._; chorus master at Würzburg, 15; church music, director of, 58; clothes, rich, love of, 157; "Communication to My Friends," _see separate title_; concert tours, 118, 119, 144; conducting, essay on, 48; conductor at Dresden, 56, 59, 60; conductor at Königsberg, 25, 27 _et seq._; conductor at London, 94 _et seq._, 144; conductor at Magdeburg, 19; conductor at Riga, 31; conducts at Zurich, 89; conducts juvenile symphony, 151; conducts "Flying Dutchman," 54, 97; corner-stone of Festspielhaus laid by, 138; Cosima von Bülow, love for, 125, 130; critics on, 69, 142; death, 152; debts, troubled by, 74, 85, 95, 116, 120; depression, 158; despair, period of, 119-121; disappointed by public misunderstanding, 53, 55, 119, 121, 147, 148, 160, 161; dissatisfied with theatre, 32, 174, 175, 179; Dresden, flight from, 79; Dresden, work in, 59 _et seq._; drudgery in Paris, 46, 47 _et seq._; dual individuality, 154 _et seq._; dyspepsia, 92, 94, 151; early models, 16; early musical studies, 5 _et seq._; enemies of, 155; erysipelas, 92; extravagant habits, 157 _et seq._; faints at rehearsal, 149; Fantaisie Castle, lives in, 136; Fatherland Union, speech before, 75; final illness, 151; finding himself, 53-56; first compositions, 7, 8; first compositions published, 9 _et seq._; _see also separate titles_; friendship with Liszt, 74, 80; friends of, 155; funeral in Venice, 152; funeral in Bayreuth, 152; Geneva, visits, 129; habits of, 156; heart trouble, 149-151; household, 150; improvidence of, 83, 85, 86, 157, 158; insomnia, 94; Italy, visits to, 94, 110, 147; King Ludwig's friendship, 122 _et seq._, 128; King Ludwig's friendship, scandals about, 114, 128; Königsberg period, 25, 27 _et seq._; Lachner's prize symphony, objects to conducting, 99; Leipsic period, 17; "Lohengrin," first heard by Wagner, 92, 117; London, concerts in, 100, 101; London, criticism in, 102; London, critics offended, 100; London, first visit to, 34; London, residences in, 99; London, second visit to, 96 _et seq._; London Philharmonic Society, conductor of, 97 _et seq._; Lucerne, visits, 110, 129; luxury, love of, 156, 157; manners of, 156; Marienbad, visit to, 64; marriage to Minna Planer, 25, 27 _et seq._, 83, 160; marriage to Cosima von Bülow, 132-134, 160; meets Meyerbeer, 36; mother of, 2; Munich, goes to, 123; Munich, leaves, 129; Munich, opposition in, 128; myth in dramas, 72; _see also separate title_; Nibelungen Lied taken up as a subject, 73; _see also separate titles_: "Nibelungen Lied," "Siegfried's Death," and "Der Ring des Nibelungen"; opposition to, 63, 67, 68, 94, 100, 102, 112, 114; Palace, Vendramin, 150; Palestrina, admirer of, 58; Paris, first sojourn in, 36, 37, 38 _et seq._; Paris, revisited, 82, 103; Paris, second sojourn in, 112; Paris, concerts in, 112; Paris, leaves for Germany, 48; Paris, leaves for Vienna, 116; Paris, residences in, 39, 46, 112; "Parsifal," work during rehearsals of, 149; Penzing, visit to, 120; Peps, his dog, 92, 103; performances unsatisfactory to, 161; poverty, 95; Prague, visit to, 14; prose writings, beginning of, 67; _see also separate titles_; purpose of his life, 167; Queen Victoria and, 102; Religious mysticism, 148; Revolution of 1848, 71, 73 _et seq._; Riga engagement, 31; Riga engagement, its end, 33; rudeness of, 155; school days, 4; Schopenhauer's influence on, 108; search for by King Ludwig's messengers, 123; Seelisberg, visit to, 103; sense of humour, 99, 100; sensuous enjoyment, 19; separation from first wife, 119; silk garments, fond of, 157; songs, 42; _see also separate titles_; Starnberg, Lake, villa on, 123; starving his wife, charged with, 130; suicidal thoughts, 158; symphony in C, 11, 12; symphony in C performed in Venice, 151; "Tannhäuser," effect of its failure on Wagner's life, 67; Teplitz, visit to, 19, 50; Triebschen, settles at, 129; Vendramin Palace, goes to, 150; Vendramin Palace, household in, 150; Vendramin Palace, life in, 150; Venice, first visit, 110; Venice, last days in, 150 _et seq._; Vevay, visits, 129; Vienna, visits, 117; Wahnfried, goes to, 136; weakness in character, 158; Weber's remains removed by, 60; Weimar, goes to, 80, 118; Wesendonck, Mrs., intrigue with, 110, 111; worship of Weber, 5, 6; Würzburg period, 15 _et seq._; Zurich, concerts at, 106; Zurich, goes to, 81; Zurich, return to from London, 103
Wagner, Rosalie, 2, 15
Wagner, Siegfried, 133, 153
Wagner Societies formed, 138; consolidated, 153
Wagnerites, English, 103
"Walküre, die"; _see_ "Die Walküre"
Weber, art-theories of, 175
Weber, influence on Wagner, 175
Weber's remains removed by Wagner, 60
Weinlig, Theodore, 9
Wesendonck, letter to, 111
Wesendonck, Mathilde, 107, 110, 111
"Wieland the Smith," 89
Wilhelmj, 144
Wille, 94, 120, 121, 123
Wittgenstein, Countess, 105
Wolff, O.L.B., 81
Wolfram von Eschenbach, history of, 448; "Parzival," story of, 457
Wolzogen, Hans von, 147
Würzburg, Konrad von, "Der Schwanen-Ritter," 272
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