Of his irritability and tactlessness we have several instances, some of them given us by himself. Take, for example, Meissner\'s account of the supper that Wagner gave to Laube[59] after the performance at Dresden of the latter\'s play, the Karlsschüler. There were a number of people present, and the usual compliments passed. Meanwhile, however, "Wagner had been fidgeting about on his chair for some time, and finally he threw out the question: Whether, in order to put a Schiller into a play, one ought not to have something of Schiller\'s genius oneself? The question was first of all couched in general terms; some compromised, some disagreed. Then Wagner proceeded to a more positive criticism of the piece that had been produced: it was merely a well-constructed comedy of intrigue in the style of Scribe, with several very piquant scenes, and did not at all solve the problem of how to write a drama the hero of which was the most ideal poet of the German race. Not till the ice-bucket appeared with its champagne did he cease; and everything was to be put right again by a congratulatory toast. But nothing now could put matters right; people emptied their glasses, and dispersed all out of tune. I myself went off with Laube, and wandered about for some time with the dejected man in the dark, quiet streets by the river."[60] Mr. Ellis, in translating this passage, has to admit that "however exaggerated, there is a grain of truth in the little tale,[61] for Pecht also informs us: \'After the performance Wagner gave Laube a feast, at which he congratulated the poet very intelligently and to the point, but, to the minds of us enthusiasts, by far too insufficiently, the consciousness of his own superiority seeming to dominate it all.\' Whichever account we accept," Mr. Ellis goes on to say, "it was awkward for the guest of the evening, and scarcely more palatable because, as Meissner himself adds, \'Perhaps Wagner was right.\' He had no intention of wounding his guest,[62] but he does appear to have had the unfortunate habit of thinking aloud; and his standards were so far above the heads of his company that his thoughts were bound to bruise when suddenly let fall on them." Plain people would probably sum it up in much simpler terms—that Wagner had been unnecessarily tactless and rude to a guest.

I have already cited Wagner\'s own confession of similar tactlessness and ill-breeding towards Count Pachta\'s daughters in Prague in 1834. He makes a similar confession with regard to his conduct to a certain Professor Osenbrück, whom he met at a party in Zürich about 1851. "I remember that I made a special exhibition of the immoderate excitement that was characteristic of me at that time, in a discussion with Professor Osenbrück. All through supper I irritated him with my obstinate paradoxes till he had such an absolute horror of me that for ever afterwards he anxiously avoided meeting me."[63]

The Hornstein episode in Zürich gave us an example of the bad manners into which his excited nerves sometimes betrayed him. In Mein Leben he frequently confesses that his irritability was very trying to his friends; and in 1858 he congratulated himself on now being able to argue with them without getting excited as of old.[64] Whether the improvement was permanent or not we cannot say; but certainly his temper stood in need of a curb. In March 1856, he says, "My illness and the strain of work [on the Valkyrie] had reduced me to a state of unusual irritability. I remember the extreme ill humour with which I greeted our friends the Wesendoncks when they paid me a sort of congratulatory visit on the evening of my completion of the full score. I expressed myself with such extraordinary bitterness on this way of showing sympathy with my work that the poor distressed visitors departed at once in the utmost dismay; and it afterwards cost me many difficult explanations to atone for the mortification I had caused them."[65]

How tactless and lacking in ordinary courtesy he could be even where his temper was not on edge, was shown by his conduct to Gounod in Paris in the Tannh?user time of 1861. "With Gounod alone did I preserve friendly relations. I was told that everywhere in society he championed my cause with enthusiasm; he is said to have remarked: \'Que Dieu me donne une pareille chute!\' To requite him for this I gave him a full score of Tristan,—for his conduct was all the more gratifying to me in that no consideration of friendship had been able to induce me to hear his Faust."[66]

Sufficient has been said to show that he must have been an exceedingly difficult person to get on with at times, and that of the many enemies he made, some of them must have had quite good reasons for disliking him.

As one studies him, indeed, the innocent, long-suffering angel of the sentimental biographers disappears from our view, and is replaced by a less perfect but more complex and more humanly interesting figure. Again let me repeat that we are not taking sides against him any more than for him, but simply showing him as he was. That he had some serious intellectual and moral defects, that he could at times be selfish and quarrelsome and unjust, can be disputed by no one who reads him with an open mind. The trouble was that with his immovable belief in himself it was impossible for him ever to doubt that he was wholly in the right. A tragedy of some sort is never far from the homes of men of this type. Wagner\'s greatest tragedy was Minna; and it will be as well to consider the history of his relationship with her in detail, some recent documents having thrown new light upon the old perplexing problem.