Beacon Lights of History, Volume 14: The New Era. John Lord

      Beacon Lights of History, Volume 14: The New Era / A Supplementary Volume, by Recent Writers, as Set Forth in the Preface and Table of Contents

      PUBLISHERS' PREFACE

      In preparing the new edition of Dr. Lord's great work, it has been thought desirable to do what the venerable author's death in 1894 did not permit him to accomplish, and add a volume summarizing certain broad aspects of achievement in the last fifty years. It were manifestly impossible to cover in any single volume–except in the dry, cyclopaedic style of chronicling multitudinous facts, so different from the vivid, personal method of Dr. Lord–all the growths of the wonderful period just closed. The only practicable way has been to follow our author's principle of portraying selected historic forces,–to take, as representative or typical of the various departments, certain great characters whose services have signalized them as "Beacon Lights" along the path of progress, and to secure adequate portrayal of these by men known to be competent for interesting exposition of the several themes.

      Thus the volume opens with a paper on "Richard Wagner: Modern Music," by Henry T. Finck, the musical critic of the New York Evening Post, and author of various works on music, travel, etc.; and then follow in order these: "John Ruskin: Modern Art," by G. Mercer Adam, author of "A Précis of English History," recently editor of the Self-Culture Magazine and of the Werner Supplements to the Encyclopaedia Britannica; "Herbert Spencer: The Evolutionary Philosophy," and "Charles Darwin: His Place in Modern Science," both by Mayo W. Hazeltine, literary editor of the New York Sun, whose book reviews over the signature "M.W.H." have for years made the Sun's book-page notable; "John Ericsson: Navies of War and Commerce," by Prof. W.F. Durand, of the School of Marine Engineering and the Mechanic Arts in Cornell University; "Li Hung Chang: The Far East," by Dr. William A. P. Martin, the distinguished missionary, diplomat, and author, recently president of the Imperial University, Peking, China; "David Livingstone: African Exploration," by Cyrus C. Adams, geographical and historical expert, and a member of the editorial staff of the New York Sun; "Sir Austen H. Layard: Modern Archaeology," by Rev. William Hayes Ward, D.D., editor of The Independent, New York, himself eminent in Oriental exploration and decipherment; "Michael Faraday: Electricity and Magnetism," by Prof. Edwin J. Houston of Philadelphia, an accepted authority in electrical engineering; and, "Rudolf Virchow: Modern Medicine and Surgery," by Dr. Frank P. Foster, physician, author, and editor of the New York Medical Journal.

      The selection of themes must be arbitrary, amid the numberless lines of development during the "New Era" of the Nineteenth Century, in which every mental, moral, and physical science and art has grown and diversified and fructified with a rapidity seen in no other five centuries. It is hoped, however, that the choice will be justified by the interest of the separate papers, and that their result will be such a view of the main features as to leave a distinct impression of the general life and advancement, especially of the last half of the century.

      It is proper to say that the preparation and issuance of Dr. Lord's "Beacon Lights of History" were under the editorial care of Mr. John E. Howard of Messrs. Fords, Howard, and Hulbert, the original publishers of the work, while the proof-sheets also received the critical attention of Mr. Abram W. Stevens, one of the accomplished readers of the University Press in Cambridge, Mass. Mr. Howard has also supervised the new edition, including this final volume, which issues from the same choice typographical source.

NEW YORK, September, 1902.

      RICHARD WAGNER: MODERN MUSIC

BY HENRY T. FINCK

      If the Dresden schoolboys who attended the Kreuzschule in the years 1823-1827 could have been told that one of them was destined to be the greatest opera composer of all times, and to influence the musicians of all countries throughout the second half of the nineteenth century, they would, no doubt, have been very much surprised. Nor is it likely that they could have guessed which of them was the chosen one. For Richard Wagner–or Richard Geyer, as he was then called, after his stepfather–was by no means a youthful prodigy, like Mozart or Liszt. It is related that Beethoven shed tears of displeasure over his first music lessons; nevertheless, it was obvious from the beginning that he had a special gift for music. Richard Wagner, on the other hand, apparently had none. When he was eight years old his stepfather, shortly before his death, heard him play on the piano two pieces from one of Weber's operas, which made him wonder if Richard might "perhaps" have talent for music. His piano teacher did not believe even in that "perhaps," but told him bluntly he would "never amount to anything" as a musician.

      For poetry, however, young Richard had a decided inclination in his school years; and this was significant, inasmuch as it afterwards became his cardinal maxim that in an opera "the play's the thing," and the music merely a means of intensifying the emotional expression. Before his time the music, or rather the singing of florid tunes, had been "the thing," and the libretto merely a peg to hang these tunes on. In this respect, therefore, the child was father to the man. At the age of eleven he received a prize for the best poem on the death of a schoolmate. At thirteen he translated the first twelve books of Homer's Odyssey. He studied English for the sole purpose of being able to read Shakspeare. Then he projected a stupendous tragedy, in the course of which he killed off forty-two persons, many of whom had to be brought back as ghosts to enable him to finish the play.

      This extravagance also characterized his first efforts as a composer, when he at last turned to music, at the age of sixteen. One of his first tasks, when he had barely mastered the rudiments of composition, was to write an overture which he intended to be more complicated than Beethoven's Ninth Symphony. Heinrich Dorn, who recognized his talent amid all the bombast, conducted this piece at a concert. At the rehearsal the musicians were convulsed with laughter, and at the performance the audience was at first surprised and then disgusted at the persistence of the drum-player, who made himself heard loudly every fourth bar. Finally there was a general outburst of hilarity which taught the young man a needed lesson.

      Undoubtedly the germs of his musical genius had been in Wagner's brain in his childhood,–for genius is not a thing that can be acquired. They had simply lain dormant, and it required a special influence to develop them. This influence was supplied by Weber and his operas. In 1815, two years after Wagner's birth, the King of Saxony founded a German opera in Dresden, where theretofore Italian opera had ruled alone. Weber was chosen as conductor, and thus it happened that Wagner's earliest and deepest impressions came from the composer of the "Freischütz." In his autobiographic sketch Wagner writes: "Nothing gave me so much pleasure as the 'Freischütz.' I often saw Weber pass by our house when he came from rehearsals. I always looked upon him with a holy awe." It was lucky for young Richard that his stepfather, Geyer, besides being a portrait-painter, an actor, and a playwright, was also one of Weber's tenors at the opera. This enabled the boy, in spite of the family's poverty, to hear many of the performances. In fact, Wagner, like Weber, owes a considerable part of his success as a writer for the stage to the fact that he belonged to a theatrical family, and thus gradually learned "how the wheels go round." Such practical experience is worth more than years of academic study.

      While Wagner cordially acknowledged the fascination which Weber's music exerted on him in his boyhood, he was hardly fair to Weber in his later writings. In these he tries to prove that his own music-dramas are an outgrowth of Beethoven's Ninth Symphony. When Beethoven wrote that work, Wagner argues, he had come to the conclusion that purely instrumental music had reached a point beyond which it could not go alone, wherefore he called in the aid of poetry (sung by soloists and chorus), and thus intimated that the art-work of the future was the musical drama,–a combination of poetry and music.

      This is a purely fantastic notion on Wagner's part. There is no evidence that Beethoven had any such purpose; he merely called in the aid of the human voice to secure variety of sound and expression. Poetry and music had been combined centuries before Beethoven in the opera and in lyric song.

      No, the roots of Wagner's music-dramas are not to be found in Beethoven, but in Weber. His "Freischütz" and "Euryanthe" are the prototypes of Wagner's operas. The "Freischütz" is the first masterwork, as Wagner's operas are the last, up to date, of the romantic school; and it embodies admirably two of the principal characteristics of that school: one, a delight in the demoniac, the supernatural–what the Germans call gruseln; the other, the use of certain instruments,