in general.

In the state of mind brought about by this condition of affairs, it
needed but a firebrand to start an explosion. This firebrand was
supplied by the revolutionary uprising of 1849. Now, although Wagner had
never really cared much for politics (to his friend Fischer he once
wrote: "I do not consider true art possible until politics cease to
exist"), he was foolish enough to believe that a general overturning of
affairs would benefit art-matters, too, and facilitate his operatic
reforms; so he became, as he himself admits, "a revolutionist in behalf
of the theatre." He actively assisted the insurgents, and the
consequence was that, when the rebellion failed, he had to leave Dresden
and seek safety in flight.

Three of the leaders of the insurrection--Roeckel, Bakunin, and Heubner;
personal friends of Wagner--were captured and imprisoned; he himself was
so lucky as to escape to Weimar, where Franz Liszt took care of him. It
so happened that Liszt, who had given up his career as concert pianist
(though all the world was clamoring to hear him), and was conducting the
Weimar Opera, had been preparing a performance of "Tannhäuser," to which
Wagner would, under normal conditions, have been invited as a matter of
course. He was now there, but as a political fugitive, wherefore it was
not deemed advisable to have him attend the public performance; but he
did secretly witness a rehearsal, and was delighted to find that Liszt's
genius had enabled him to penetrate into the innermost recesses of this
music. It was impossible, however, for him to stay any longer. The
Dresden police had issued a warrant for the arrest of "the royal
Kapellmeister Richard Wagner," who was to be "placed on trial for active
participation in the riots which have taken place here." No time was,
therefore, to be lost. Late in the evening of May 18, Liszt's noble