novel and revolutionary to be appreciated by his contemporaries; hence
it is not to be wondered at that the "Flying Dutchman," after four
performances in Dresden, and a few in Cassel and Berlin, disappeared
from the stage for ten years.

Although Wagner was now royal conductor, he did not succeed in securing
a revival of this opera at Dresden. His next work, "Tannhäuser," was
nevertheless promptly accepted. The score was completed on April 13,
1845, and six, months later (October 19), the first performance was
given. Wagner had thrown himself with all his soul into the composition
of this score. To a friend in Berlin he wrote: "This opera must be good,
or else I never shall be able to do anything worth while." The public at
first seemed to agree with him. Seven performances were given before the
end of the season, and it was resumed the following year; yet Wagner
came to the conclusion that he had written the opera "for a few intimate
friends, but not for the public," to cite his own words. What the public
had expected and desired was shown by its enthusiastic reception of
"Rienzi," and its colder treatment of the "Dutchman." But "Tannhäuser"
was like the second opera; in fact, even "more so." Wagner had outlived
the time when he was willing to make concessions to current taste and
fashion; thenceforth he went his own way, eager, indeed, for approval,
but stubbornly refusing to win it by sacrificing his high art ideals.

Here was true heroism, genuine manliness! Had he been willing to write
more operas like "Rienzi," he might have revelled in wealth (he loved
wealth!) and basked in the sunshine of popularity, like Meyerbeer. But
not one inch of concession did he make for the sake of the much-coveted
riches and popular favor.

Yet was not his next work, "Lohengrin," of a popular character? Popular