Wagner : The Story of the Boy Who Wrote Little Plays — Key Ideas to Explore
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For Wagner : The Story of the Boy Who Wrote Little Plays — Key Ideas to Explore, the stored edition analysis reports 5,332 words, 24 min estimated reading time, and 1 detected text section.
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Read the Text
Who were the great musicians when he was a boy? Well, here are some of them. Can you tell one fact about each of the men whose pictures come next?
Wagner's father died when he was only six months old, and the boy was brought up by his mother and his step-father, who was very kind to him. In one way Wagner was unlike most of the other great composers. He did not show any talent for music until he was almost a man. All that he thought of was writing plays. When he did study, he was so bright and worked so hard that he learned in less than a year more than many learn in a lifetime. Here is a picture of Wagner's mother, who cared for him so tenderly.
When we read the stories of Charles Dickens we make many friends. And they are among the very best we ever have. There are Little Nell, Paul Dombey, Sam Weller, Oliver Twist, and a host of others.
Writers like Dickens bring all sorts of people before us. _But few composers can do such a thing._
Yet there are some who do this, and one of the greatest is Richard Wagner. In his operas a host of people live,--people as real and as interesting as those in the stories of Charles Dickens.
There is Walter, who sings the Prize Song in Die Meistersinger, and Eva, whom he loves. And in the same opera there is Beckmesser, the fussy old schoolmaster kind of a man. And Hans Sachs, the cobbler.
SCENE FROM DIE MEISTERSINGER
There is a lovely scene in the third act of this opera. We see a meadow light and bright in the sunshine. A glistening river flows quietly through it. Everywhere on the water there are boats. Scattered over the meadow there are tents. Everybody is out for a holiday time. All is lively and full of color and bright and cheery. Now there pass before us the tradesmen singing in chorus. There are cobblers and carpenters led by the town pipers. And every trade sings its own songs.
Then comes the scene in which Walter and Beckmesser sing in contest. Beckmesser begins. He stutters and stammers and struggles through his song. And finally, like a school-boy who does not know his lesson, he breaks down.
Then Walter comes to sing the lovely _Prize Song_; a melody that just sings itself into the heart of everyone.
Do you wonder that with such lovely music Walter wins the contest and the hand of Eva whom he loves? Jolly old Hans Sachs is so happy over it all that he sings a rollicking song and everybody joins in with him as the curtain goes down.
Nor was Wagner satisfied with making characters who were merely people just like ourselves. (For Walter and Eva are people of our kind). But there are in the operas by Richard Wagner, gods and goddesses, giants and Rhine maidens, and Nibelungs.
Many of them have strange names. These names are easy to remember because they are strange: Wotan and Donner are gods. Freia and Erda are goddesses. Fafner is a giant. Flosshilde is a Rhine daughter. Mime and Alberich are Nibelungs.
Oh, they are wonderful company these gods and goddesses, and others of the company who tell their story and adventure in the operas of the Nibelungen Ring. Here is Siegfried forging his Magic Sword Nothung.
Now, as we have said, when we learn of so great a man we always wonder what sort of a boy he was. Well, when this boy was nine years old he went to a classical school. One of his teachers at least must have been very fond of him, and he must have been fond of his teacher, for when Richard Wagner was only thirteen years old he translated from Greek into German twelve books of the Odyssey for this teacher.
"I intend to become a poet," he used to say. He read _Romeo and Juliet_ in English. Then he wrote a play in which were _Hamlet_ and _King Lear_. And there were forty-two other characters. All of these died or were killed in the fourth act and were brought back as ghosts in the fifth! He played the piano, too, and seems to have been quite as busy a boy as he was a man.
Of one composer's music he was very fond. This composer lived nearby and passed the Wagner house almost every day. Richard always ran to the window to watch him coming. This musician was the composer of _Der Freischuetz_ and of _Oberon_. Can you guess his name?
This composer's father was also a musician as well as a military man.
Children will be glad to know that Wagner was very fond of animals. Here he is with a picture of one of his dogs. His favorite dogs are buried in the garden of his home at Bayreuth, where Wagner is also buried.
Wagner called his home at Bayreuth "Wahnfried," which really means "Fancy Free."
It is beautifully located in the heart of the old town.
Later on the boy read about the contest of _Die Meistersinger_. He was then sixteen. And he read, too, a poem called _Tannhaeuser_. He kept these stories in mind until he became a man and then he wrote an opera about each.
Thus we see that we carry childhood thoughts into manhood.
Here is a list of the operas by Richard Wagner, with their names pronounced:--
_The Fairies_ (1833). _Das Liebesverbot_ (1836) leebes-fehr-bote. _Rienzi_ (1842) ree-ent'-see. _The Flying Dutchman_ (1842). _Tannhaeuser_ (1845) tan'-hoy-ser. _Lohengrin_ (1847) lo'-en-green. _Das Rheingold_ (1869) rhine-gold. _Die Walkuere_ (1870) dee val-kee-reh. _Siegfried_ (1869) seeg'-freed. _Tristan and Isolde_ (1865) e-sol'-deh. _Die Meistersinger_ (1867). _Die Goetterdaemmerung_ (1876) dee getter-day-meh-roongk. _Parsifal_ (1882) par'-se-fal.
Wagner also wrote symphonies and a few works for chorus and orchestra, but he is so much greater as a composer of music dramas that he is known mostly for his works for the stage.
SOME FACTS ABOUT RICHARD WAGNER
Read these facts about Richard Wagner and try to write his story out of them, using your own words. When your story is finished, ask your mother or your teacher to read it. When you have made it, copy it on pages 14, 15 and 16.
1. Richard Wagner wrote operas.
2. He was born May 22nd, 1813.
3. How long did Wagner study music?
4. His operas, like the novels of Charles Dickens, are full of wonderful characters.
5. Besides people of every day kind there are gods and goddesses, and giants, and other strange beings in his operas.
6. As a boy Richard Wagner went to a classical school.
7. He was always fond of music.
8. He could translate Greek when he was only thirteen years old.
9. Even as a little boy he said: I intend to become a poet.
10. He wrote plays and he read the plays of Shakespeare in English.
11. As a boy he studied the piano and was fond of the music of Von Weber.
12. Among the books that Richard Wagner read as a boy were the story of _Die Meistersinger_ and the story of _Tannhaeuser_.
13. He always kept these stories in mind.
14. When he became a composer he wrote an opera upon each of these stories.
15. Tell something about Wagner and animals.
16. Richard Wagner died at Venice on Feb. 13, 1883.
1. What kind of music did Richard Wagner compose?
3. Can you name some of the musicians who lived when Richard Wagner was a boy?
4. How many characters from the Dickens' novel can you name from memory?
5. In what opera by Richard Wagner is _The Prize Song_?
7. Tell what kind of a man Beckmesser is.
8. Who was the jolly cobbler singer?
9. What happened to Beckmesser in the contest with Walter?
10. What sort of characters occur in the operas?
11. See if you can describe each of these: Donner, Fafner, Mime, Freia, Wotan.
12. What is the name of the house in which Richard Wagner was born?
13. Tell some of the things he did when he was a boy.
14. Who composed _Oberon_?
15. What other opera did this composer write?
16. What should we remember about childhood thoughts?
Written by ..................................
On date ..................................
Write a short story about Wagner and copy it on these pages.
On page 9, "Odessy" was replaced with "Odyssey".
On page 11, "Die" and "Parsifal" were italicized.
The music depicted in the illustration is not from Walter's Prize Song in Die Meistersinger, but is instead the opening of the overture to that opera.
The book opens not with a musical prodigy but with a boy who wrote little plays. Thomas Tapper's 1918 biography for children introduces Richard Wagner as a child whose first creative impulses were dramatic, not musical. The narrative begins in Leipzig, at a house called the Red and White Lion, where Wagner was born on May 22, 1813. Tapper emphasizes the boy's early habit of composing plays, a detail that frames his later operatic work as an extension of childhood storytelling. The biography is part of the Child's Own Book of Great Musicians series, designed to be cut, pasted, and sewn by the child reader—a physical engagement that mirrors the active, hands-on approach to learning about the composer.
A House Called the Red and White Lion
Tapper begins with an odd detail: Wagner's birthplace was a house named the Red and White Lion. The author notes that no one ever saw a red and white lion, yet that was the name. This whimsical fact sets a tone of curiosity and invites the child reader to imagine the unusual. The house stands in Leipzig, a Saxon city described as quaint and old. Tapper uses this setting to ground Wagner's origins in a specific, tangible place. The description is brief but vivid, suggesting that the composer's life began in a world where names could be fanciful and imagination was welcome. This opening strategy—starting with a concrete, slightly odd fact—reflects the book's method of making history accessible through memorable details.
The Boy Who Wrote Plays, Not Music
The title of the book itself points to a key tension: Wagner is remembered as a composer, but Tapper focuses on his early playwriting. The excerpts show that the narrative emphasizes Wagner's childhood habit of writing little plays, a detail that recurs throughout. This choice suggests that Tapper wants young readers to see creativity as a broad impulse, not limited to music. The book implies that Wagner's operas grew from a dramatic instinct, not just a musical one. By foregrounding the plays, Tapper frames Wagner's later work as an extension of childhood make-believe. This approach also aligns with the interactive nature of the book: the child reader is encouraged to write their own story at the end, becoming a creator like Wagner.
An Interactive Biography: Cut, Paste, and Sew
The book is not meant to be read passively. Tapper's series includes a sheet of illustrations to be cut apart and pasted into designated spaces. The instructions specify using photographic paste and placing the pictures neatly within printed lines. After this, the child writes their own story of the musician on blank pages, based on facts and questions from the book. Finally, the child sews the book together with a cord and needle provided in an envelope. This physical process turns the biography into a craft project. The book becomes the child's own, literally assembled by hand. This method teaches facts through doing, and it reflects an educational philosophy that values active engagement over mere reading.
Readers should approach this book as both a biography and a hands-on activity. The cut-and-paste illustrations and the blank pages for the child's own story are integral to the experience. Tapper's focus on Wagner's childhood playwriting offers a fresh angle for young readers, who may not yet know the composer's music. The book invites them to see creativity as a process that begins with simple acts of imagination—writing a little play, cutting out a picture, sewing a book. It is a portrait of the artist as a young boy, and a prompt for the child reader to become one too.
Reading about young Wagner drafting his little plays, I found myself thinking of another child at a piano, chasing melodies in the air. Both boys seemed to carry a private world inside them, waiting for quiet moments to let it out. That gentle persistence reminds me of Chopin : The Story of the Boy Who Made Beautiful Melodies — Key Ideas to Explore, somehow, that old book holds the same soft, patient wonder.
Lucas Lopez
1 week agoDylan Jackson
3 weeks agoMia Allen
2 weeks ago-
Kevin Jacobson - 1 month ago
This biography is more fiction than fact, romanticizing Wagner's childhood without acknowledging the complexities of his character. The writing is archaic and the illustrations are unappealing. For a child, there are far more engaging and accurate books about famous composers. I was disappointed by the lack of scholarly rigor and the sugar-coated portrayal. -
Anthony Bryant - 4 weeks ago
This delightful story about Wagner's youth is perfect for inspiring young creatives. It shows how his early playwriting and love for music blossomed into greatness, despite his family's initial doubts. The narrative is engaging and whimsical, making history feel alive. My son, who is into theater, couldn't put it down. It's a heartwarming reminder that passion can lead to extraordinary things. -
Janet Austin Sullivan - 2 weeks ago
The book gives a nice account of Wagner's childhood, emphasizing his early artistic ambitions. It's written in a simple style that suits younger readers, but the older translation might not appeal to today's kids. A decent introduction, but it lacks the memorability of more modern children's biographies.
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Owen Williams
2 weeks ago