. Richard Wagner : his life and works . essive in all things, he exaggerated them and carriedthem to an extreme. That he was a man of profound egotism and excessivepride is beyond question, and this disposition to self-centreall things is so natural, I was going to say necessary, toartists, occupied solely with their work and their glory, thatit was not worth while being surprised at it. That he lovedto pose as a martyr, while knowing full well how to play hiscards to the best advantage, may also be passed over; butwhat was really ungracious on his part was his undisguisedingratitude towards t
. Richard Wagner : his life and works . essive in all things, he exaggerated them and carriedthem to an extreme. That he was a man of profound egotism and excessivepride is beyond question, and this disposition to self-centreall things is so natural, I was going to say necessary, toartists, occupied solely with their work and their glory, thatit was not worth while being surprised at it. That he lovedto pose as a martyr, while knowing full well how to play hiscards to the best advantage, may also be passed over; butwhat was really ungracious on his part was his undisguisedingratitude towards those who had befriended him, when theycould not or would not longer serve his interests. And thisapplies to nations and to sovereigns as well as to brothermusicians. When, instead of considering his writings froma merely theoretic point of view, one connects them withthe events which precede or follow them, one is struck bythe ease with which this man of bronze bends himself toconjunctures, and stoops to flatter those whom he wishes to. Q Pi W zo< «!OS Q|Z5W> o NN<►J<0- 368 RICHARD WAGNER influence, while abusing individuals, nations and kings fromwhom he no longer has anything to gain. The theoriesthemselves do not change, but their literary development issubject to sensible inflections, very curious to follow, andunfortunately very easy to explain, since the cause may beinvariably traced to personal interest. For instance, when he receives the reply from Berlin thatthe king cannot accept the dedication of Tannhauser, withouthearing some fragment from it, say on parade, he is indig-nant, fumes and rages, and continues nevertheless to negotiateunderhand, until the king decides to have his Rienzi playedfor his anniversary. To whom is he principally indebted forthis decision ? To Meyerbeer. Who had directed his firststeps in Paris, had really kept him from starvation by recom-mending him to Schlesinger, had put him en rapport with theOpera, so that at that time his
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