Wagner : The Story of the Boy Who Wrote Little Plays — Key Ideas to Explore

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In Category - Composers
Tapper, Thomas, 1864-1958 Project Gutenberg 2011 Not confirmed
Composers -- Germany -- Biography -- Juvenile literature; Wagner, Richard, 1813-1883 -- Juvenile literature Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 5,332
Reading time 24 min
Text sections 1

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.

The text analysis averages about 19.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Composers -- Germany -- Biography -- Juvenile literature,” connecting these edition facts with the source record’s subject description.

Thomas Tapper's 1918 biography for children presents Richard Wagner's early life, emphasizing his childhood playwriting and the development of his musical imagination. The book is part of an interactive series that includes cut-and-paste illustrations and blank pages for the child's own summary.
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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.

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.

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