You have likely heard a Richard Wagner piece from the Great Dictator, Apocalypse Now, Father of the Bride, or even Bugs Bunny. Wagner created stories in all his compositions. Drama and romance were at the center of his creativity and personal life (1) (2). Richard Wagner’s operas caught the attention of a young Prince Ludwig II of Bavaria, who swore to support and bring him fame saying, “When I am a King, I will show the world how highly I prize his genius!” (3). Without the support of Ludwig II, Wagner may not have seen great success. He was in debt and faced many financial and political woes (4). What was their relationship? How did it form? What influence did the two figures have on one another? A letter among the collections at Morristown National Historical Park may just answer those questions (5).
Letter to Ludwig II
In March 1867, Wagner wrote the following letter to Ludwig II. With help of an international Volunteer-in-Parks with the National Park Service, Christoph Späth, the letter has been transcribed and translated. An earlier uncredited translation and transcription were cross-referenced for clarity.
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| First page of Wagner Letter to Ludwig II March 31, 1867 MORR 3374-3 |
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| Second page of Wagner Letter to Ludwig II March 31, 1867 |
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| Third page of Wagner Letter to Ludwig II March 31, 1867 |
Letter Transcription (German)
Theuerster Geliebter,
Hier ein Briefchen für die erhabene Liebliche! Ich schreibe Ihr darin von unserem Parzival. Wie geht es dem holdesten Herrn der Erde? Ich fürchte, Er hat jetzt viel zu ‚hexen‘ und sehnt sich bald wieder ‚zaubern‘ zu dürfen?
Der Lenz kämpft noch mit Winterstürmen. Am Jahrestag unsres Grütli besuches mussten wir zu Haus bleiben. Am Charfreitag bin ich aber dort: O Parzival! Wie muss ich dich lieben, mein trauter Held! – Bald wird wohl die Welt sehen was das zu bedeuten hat,--und ärgern wird sie sich auch, zu gewahren, dass alles Unheil welches sie für uns kocht (??), uns zum Heilsaft wird.
Siegmund könnte eben Gift vertragen: denn er war göttlich! –
Mit Gott mein Theurer! Schön „hexen“ dass ich armer Meister gut „zaubern“ kann: Es geht, es wird, ich hoffe, liebe und glaube! –
Tausend innige Seelengrüsse!
Ewig true und eigen
Richard Wagner
Innigste Grüsse der treuesten Freundin
Luzern
31. März 1867
Wagner Letter Translation (English)
Dearest loved one,Here is a letter for the sublime lovely one. In it I write about our Parzival. How is the loveliest gentleman on earth? I’m afraid he has a lot “of witchcraft” now and is longing to be able to “practice sorcery” again soon?
Poor one!! I have now become very tired of witchcraft, and I confidently hope to leave it with somebody else for a while. I believe everything is alright with my wonderful Hans: on the 15th of April he is arriving in Munich with his lady-friend, in order to make quarters for me as well. If only the sorcery with Putlitz would succeed. I haven’t heard about it and am afraid that your little councils etc. are going to make it difficult for you, for that you are in the world, even in the Munich Residence. If they make it too difficult, Parzival will have to again take up the sword of Siegfried. With regards to these people my line is: “You should live, but let us also live” Please, please!! Let there be no objection to Putlitz: I’m proceeding with this request with great caution and deliberation his appointment is the best and most expedient thing they can do, in order to assure order and yourself peace and progress of the matter at once. May our excellent Schmitt be undisturbed in giving his counsels as a stage manager, as much as he can. But: “live and let live!”-
Spring is still battling with winter storms. On the anniversary of our Grütli visit, we had to stay at home. But on Good Friday I will be there: O Parzival! How I must love you, my dear hero! – Soon the world will see what this means, - angry to be aware that all mischief it is cooking for us becomes our healing potion. Siegmund could endure the poison: for he was divine! –
With God, my dearest! Nicely “work magic” that I poor master can “conjure” well: It works, it will be, I hope, love, and believe! –
A thousand heartfelt greetings
Eternally faithful,
Richard Wagner
Heartfelt greetings to your faithful girlfriend
Lucerne
March 31, 1867
History/Context
Ludwig II and Richard Wagner’s personal relationship began in 1864. That year, Ludwig II became the King of Bavaria after the unexpected death of his father, King Maximilian II (6). In May of that year, Ludwig II invited Wagner to the Munich Residenz—the formal palace and apartments of the Bavarian royalty, which was expanded greatly by Ludwig II (7). Ludwig II was notably Wagner’s most famous supporter. King Ludwig II is remembered as many things; one is as the “Fairytale King.” (8). He lived a child-like and theatrical life. He was inspired by operas, poetry, and art. He was particularly inspired by the work of Wagner and made it well known. His biggest endeavor was the building of Neuschwanstein, which was built and designed as an ode to two of Wagner’s opera’s Tannhäuser and Lohengrin. (9). In June 1865, Wagner’s Tristan und Isolde was performed in the Munich Hoftheater with the support of Ludwig II (10).Wagner began an affair with Cosima von Bülow by 1864 (2) (11). She was the daughter of composer Franz Liszt and Countess Marie d’Agoult. She was married to the friend of Wagner, conductor of Tristan und Isolde, and student of Franz Liszt, Hans von Bülow (2). In April 1865, Wagner and Cosima had a daughter named Isolde. The information of the affair was widely known, and because of the affair and other political disagreements, the royal counsel did not favor Wagner. He was forced to leave Munich in December 1865 (2). Ludwig II was willing to abdicate his thrown to follow his hero, but Wagner convinced him otherwise (3).
Wagner was spending his exile from Bavaria and establishing a new home in Lucerne, Switzerland (1) (11) (6). In 1864/5 Wagner rented a new home, Villa Tribschen, in Lucerne at the King’s expense (11).
Discussion
In the letter to King Ludwig II, Wagner introduces his ideas of the story of Parsifal. The spelling of Parsifal changed over time. At this point Wagner was using the “Parzival” spelling and later changed it Parsifal (12) (5). Throughout the letter, he calls the recipient, Ludwig II, “Parzival.” Parsifal was Wagner’s last opera, which premiered in 1882—a year before his death. Over twenty years earlier, in 1857, Wagner was inspired by the epic poem “Parzival” by Wolfram von Eschenbach written in the 13th Century (1). The story follows the quest of the Arthurian knight, Parzival, for the Holy Grail (13). Parsifal was a character who Ludwig II had identified with his entire life (9). Wagner expressed similar views. He supported this by giving Parsifal many of the boy-like characteristics that he witnessed in Ludwig II (9). This is reiterated in a letter (5). Wagner’s Parsifal is a Good Friday tale and the story of an innocent youth who through a journey gains compassion and becomes King of the Realm of the Holy Grail (12) (14). Ludwig II became King at the age of eighteen, which he admitted was very young and wanted more time to gain worldly knowledge. He was aware of his naivete (8). Ludwig II in building Neuschwanstein designed a room in the castle that is in the image of the Hall of the Holy Grail. He saw himself fulfilling the prophecy that Wagner had dreamt of in the tale of Parsifal (9).In the letter, Wagner speaks of his “wunderlichen” Hans. This is likely Hans von Bülow. The word “wunderlichen” has several meanings. It can both mean “odd/strange” as well as “wonderous/fantastic.” Depending on their true relationship, Wagner could have meant either. The relationship between von Bülow and Wagner was strained but persisted based out of respect for one another despite the affair with Cosima von Bülow (née Liszt) and Wagner (2). This letter confirms that the relationship was resolved or, at least, it was from Wagner’s perspective (5). However, Wagner faced expulsion from Munich partially due to this well-known affair with Cosima (1). Wagner and Cosima continued their affair and in February 1867 had a second daughter Eva named for the lead character in Wagner’s Die Meistersinger von Nürnberg, which premiered in June 1868 (2). Eva and her older sister, Isolde, were adopted by Hans von Bülow at birth. Wagner writes of the Hans’ trip to Munich on April 15, 1867. The von Bülows visited Villa Tribschen the summer of 1867 (1). Cosima gave birth to a boy named Siegfried in 1869 named for the title character of the third cycle of Der Ring des Nibelungen. Cosima appealed to end her marriage with Hans von Bülow after the birth of her third child by Wagner. Von Bülow eventually accepted a divorce claiming that Cosima was following her heart (2).
The letter continues to speak of a man named “Putlitz.” Gustav zu Putlitz was a theatre manager of Schwerin, who in 1867 was appointed a position as a chamberlain to the crown prince (15). The Munich Residence or der Residenz München is where Ludwig II resided in the city of Munich (7). Ludwig II may have felt untouchable within his palace, but Wagner explains that trouble could find him there as well. Wagner suggests taking up the sword of Siegfried in response to this selection process. Siegfried is the protagonist of Wagner’s Der Ring des Nibelungen and the son of Sieglinde and Siegmund. In Wagner’s Siegfried, Nothung is the name of the sword used the slay the dragon Fafner (1). The reference reads as shared knowledge of story of Siegfried between Ludwig II and Wagner. Suggesting if the selection of Putlitz does not go in his favor, he may have pick up the sword against those who object.
Wagner continues on to say let “our excellent Schmitt be undisturbed in giving counsels as a stage manager.” (5). Friedrich Schmitt was a singer in the opera working to become famous and was a close ally of Wagner’s throughout the 1850s. He was appointed as a singing instructor in the new method of teaching in the Deutsche Musikhochschule (11). Friedrich Schmitt and Wagner had a falling out just after this letter was written (11).
Wagner states “Ihr sollt leben, lasst uns aber auch leben” which has been translated as “Tell them to live but also let us live” (5). He repeats the sentiment at the end of the paragraph saying “leben und leben lassen” or in English “live and let live.” This phrase is widely known and interpreted. Fundamentally, it means a person should be allowed to do as they please as others do the same (16). The phrase is a proverb that is reported to have first been recorded in writing by the Dutch and found in The Ancient Law-Merchant compiled by G. De Malyness in 1622 (17). Again, Wagner is appealing to the court to accept the position of Putlitz and just let them do as they please.
“Lenz” is an archaic term for the season of Spring in German. Today, one would likely use the term “Frühling” when speaking about the season of Spring. In the opera Die Walküre (The Valkyrie) Siegmund and Sieglinde are twins who were separated as babies. In the story, Lenz/Spring represents the brother, Siegmund. Siegmund sings of Lenz/Spring finding a sister “Love” and being united. Siegmund is set to fight Hunding the husband of Sieglinde to free her. After Sieglinde poisons her husband with a sleeping potion, she shows Siegmund a sword stuck in a tree. The prophecy says that only the person strong enough can pull it out. Siegmund pulls out the sword and the season changes suddenly from Winter to Spring (18). This sword is the sword later forged for Siegfried, which is referenced earlier in the letter (19). In The Valkyrie, Siegmund sings that:
Winter and storm gave way to the strong dam/…he lunged himself to his sister;/love lured Lenz:/ in her bosom they hid themselves deeply;/now she blissfully laughs the light/ the bridal sister freed the brother;/smashed lies when they separated;/cheering, the young couple greet each other:/Love and Lenz are united!” (20)
Sieglinde replies, “You are the Lenz I longed for/ in the frosty winters.” (20). In the letter to Ludwig II, he speaks of the spring fighting the winter storm, which can be understood that winter weather is still lingering. The word choice could be a reference to the struggle of Siegmund in the story of Die Walküre.
Wagner writes about a visit to Grütli (French) or Rütli (German), which is a mountain meadow on Lake Lucerne. According to the Friedrich Schiller play William Tell and folklore it is the location where Swiss freedom was founded (21). The location has national significance and is a national monument (22). Schiller was Ludwig II’s favorite poet (3). Good Friday of 1867 was on April 19. By the context of the letter, Wagner is intending to visit Munich during or right before Good Friday. The weather was too poor for him to go during the anniversary of a visit they had in the past to Grütli. Good Friday was a significant date for Wagner. Parsifal is a Good Friday tale. He claimed he dreamt of the opera on Good Friday in 1857 (11). Soon the world would know what the Good Friday reference meant because it would be displayed in his opera, Parsifal (14).
In the letter Wagner states “Siegmund could endure the poison, for he was divine” (5). The story Siegmund and Sieglinde and Der Ring des Nibelungen is based on the Norse mythology of Sigmund of Völsunga saga (23) (20). The reference to Siegmund drinking the poison is from the story of Sigmund of Völsunga saga (23). Sigmund and Signy have an incestuous affair and birthed a child named Sinfjötli. Sigmund was married to Borghild, a Valkyrie, after the death of his sister, Signy. Borghild is angry with Sinfjötli for killing her brother in pursuit of a lover. She wants to poison Sinfjötli. Instead, Sigmund keeps drinking to save his son. Once very inebriated by the poison, he accidentally allows his son drink. Sinfjötli dies from the poison immediately (23). Sigmund (Siegmund) survives the poison. Siegmund survived because he was godly. Wagner’s Der Ring des Nibelungen does not follow this storyline. The original Norse tale is what Wagner is referencing in the letter (5).
Wagner goes on to say, “the world is angry to be aware that all mischief it is cooking for us becomes our healing potion” (5). Wagner believes he and Ludwig II may not be susceptible to the world’s potion much like Siegmund was not susceptible to the poison of Borghild and the Valkyries. The world cannot harm them. This can be understood perhaps as, “what doesn’t kill us makes us stronger.”
Finally, in the postscript, Wagner references a faithful girlfriend. March 1867 was just a few months after Ludwig II’s engagement to his cousin Sophie, duchess in Bavaria (3). Sophie and Ludwig II shared a love of Wagner's art. Ludwig, however, ended their engagement in October 1867 (3). He was not known to have mistresses and never married (6).
Conclusion
The Wagner letter in Morristown National Historical Park’s collection confirms the historical understanding and interpretation of the relationship between King Ludwig II and Richard Wagner. King Ludwig II financed Wagner’s career and essentially saved him from his debts. Through the financial support, Wagner was able to finish and premiere many of his works in his lifetime including Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen (all four parts: Das Rheingold, Die Walküre, Siegfried, Götterdämmerung), and Parsifal. Ludwig II honored Wagner by utilizing motifs from Wagner’s works in the building of his palaces most famously Neuschwanstein (9).
The overall theme in using sorcery and witchcraft is a reference to Wagner’s works but also to the world that he and Ludwig II created together as known dreamers (8). Both individuals, especially Ludwig II, lived a fantasy life that was not always based in reality (6). Wagner played into that by referring to the actions of others as witchcraft (5).
While Ludwig II was a great supporter of Wagner, there were political and religious views that the two did not share. Notably, Wagner famously produced works that were antisemitic; for example Das Judentum in der Musik (Judaism in Music); 1850 (24). Ludwig II did not necessarily agree with these views even though he identified with the story of Parsifal, which also has motifs that are interpreted as antisemitic (25).
The letter from Wagner to his supporter and savior, Ludwig II, is just a glimpse in the timeline of their long-lasting friendship and admiration for one another. It also allows a peek into their world and the fantasies they shared about magic, love, and art.
2. Marek, George R. Cosima Wagner. London : Julia MacRae Books, 1981.
3. Tschudi, Clara. Ludwig the Second, King of Bavaria, Gutenburg. [Online] 2015. [Cited: April 27, 2021.] https://www.gutenberg.org/files/48578/48578-h/48578-h.htm.
4. Cord, William O. An Introduction to Richard Wagner's Der Ring Des Nibelungen: A handbook. Athens, OH : Ohio University Press, 1995.
5. Wagner, Richard. Lucerne : s.n., March 31, 1867.
6. Noehbauer., Hans F. Ludwig II: Ludwig II of Baverai. s.l. : Taschen, 1998.
7. Bayerische Verwaltung der Staatlichen Schloesser, Gaerten und Seen. Bavairan Palace Administration Munich Residence. [Online] [Cited: April 26, 2021.] https://www.residenz-muenchen.de/englisch/residenc/index.htm.
8. McIntosh, Christopher. The Swan King: Ludwig II of Bavaria. s.l. : Bloosmbury Academic, 2019.
9. Bayerische Verwaltung der Staatlichen Schloesser, Gaerten und Seen. "King Ludwig II of Bavaria." . [Online] [Cited: April 26, 2021.] www.neuschwanstein.de/englisch/ludwig/biography.htm.
10. Skramstad, Per-Erik. Tristan Und Isolde. [Online] [Cited: April 27, 2021.] www.wagneropera.net/operas/opera-tristan-isolde.htm.
11. Wagner, Richard. Mein Leben: Richard Wagner. s.l. : Bruckmann, 1915.
12. —. Parsifal. Bayreuth : s.n., 1882.
13. Eschenbach, Wolfram von. Parzival and Titurel. s.l. : OUP Oxford, 1842.
14. Metropolitan Opera/Parsifal. [Online] 2021. [Cited: April 20, 2021.] https://www.metopera.org/user-information/synopses-archive/parsifal.
15. Pulitz, Gustav Heinrich Gans, Edler Herr von und zu". [book auth.] D.C. Gilman, H.T. Peck and F. M. Colby. New International Encyclopedia. New York : Dodd, Mead, 1920.
16. Merriam-Webster Dictionary. Live and Let Live. [Online] [Cited: April 28, 2021.] https://www.merriam-webster.com/dictionary/live%20and%20let%20live.
17. Malyness, G. De. The Ancient Law-Merchant . 1622.
18. Lutz, Peter. Winterstuerme Wichen Dem Wonnemond – an aria from the opera die Walküre. [Online] April 24, 2019. [Cited: April 27, 2021.] https://opera-inside.com/wintersturme-wichen-dem-wonnemond-an-aria-from-the-opera-die-walkure/.
19. Wagner, Richard. Siegfried. Bayreuth Festspielhaus, Bayreuth : s.n., August 16, 1876.
20. —. Die Walküre. Bayreuth Festspielhaus, Bayreuth : s.n., August 14, 1876.
21. Schiller, Friedrich. Schillers William Tell. Boston : Ginn and Company, 1805.
22. Swiss Society for the Common Good. About the Rütli. [Online] December 10, 2020. [Cited: April 27, 2021.] https://sgg-ssup.ch/en/social-cohesion/rutli/about-the-rutli/.
23. Ashliman, D. L. The Saga of the Volsungs. [Online] 2010-2012. [Cited: April 28, 2021.] https://www.pitt.edu/~dash/volsungsaga.html.
24. Tikkanen, Amy. Wagner's Anti-Semitism. [Online] 2021. [Cited: April 28, 2021.] wwww.britanica.com/biography/Richard-Wagner-German-composer/Wagners-anti-Semitism.
25. Kinney, Allison. How Deep is Your Love?: How Ludwig II's love for Richard Wagner Inspired the world's greates work of fan art. [Online] [Cited: April 28, 2021.] https://www.laphamsquarterly.org/music/how-deep-your-love.
26. Smith, Lloyd W. Lloyd W. Smith Collection. 1957.
27. Lantsch Lenz. Lantsch/Lenz Tourismus. [Online] April 13, 2021. [Cited: April 27, 2021.] https://www.lantsch-lenz.ch/tourismus.
28. Wagner, Richard. Libretto from Die Walkuere. [Online] [Cited: April 27, 2021.] https://www.opera-arias.com/wagner/die-walk%C3%BCre/libretto/english/.
This blog post was prepared by Kelsey Taormina, detail Museum Specialist at Morristown NHP/Park Ranger at the Statue of Liberty National Monument.
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