characteristics of "Lohengrin" and "The Valkyrie."

Wagner's letters to Liszt and other friends show that he suffered
tortures, and was often brought to the verge of suicide by the thought
that, as a political refugee, he was unable to go to Germany to
superintend the production of his works. His one consolation was that,
as he put it, through the friendship of Liszt his art had found a home
at Weimar at the moment when he himself became homeless. Weimar became,
as it were, a sort of preliminary Bayreuth, to which pilgrimages were
made to hear Wagner's operas. Liszt not only produced the "Flying
Dutchman," "Tannhäuser," and "Lohengrin," but wrote eloquent essays on
them, and in every possible way advanced the good cause. It has been
justly said that by his efforts he accelerated the vogue of Wagner's
operas fully ten years. He also helped him pecuniarily, and induced
others to do the same. Never in the world's history has one artist done
so much for another as Liszt did for Wagner during all the years of his
exile in Switzerland.

Few persons would consider residence in Switzerland (the usual home in
those days of political refugees) a special hardship; nor would Wagner
have considered it in that light except for the solicitude he felt for
the children of his brain. Otherwise he greatly enjoyed life in that
glorious country, and the Alpine ozone nourished and stimulated his
brain. Moreover, from the creative point of view, it was an actual
advantage for him to be away from the opera-houses of the great
capitals. In Switzerland, except for a short time when he was connected
with the Zurich opera, he heard no operatic music except such as his own
brain created. Undoubtedly this helps to account for the astounding
originality of the music-dramas he wrote in Switzerland.