Revolution," disclosed the real nature of this so called art in
the unsettled political and social condition of the time, and
energetically rejected as art anything which under any guise sought
to speculate upon the public. The "Art-Work of the Future" was a more
extended paper which described the deadly influence of modern fashion
upon art itself and the egoistic dismemberment of it into distinct
branches, and revealed the art of the future as embracing all human
art-capacities.

This misunderstood assertion gave rise to the term, "music of the
future," first used by a would-be professor, L. Bischoff in Cologne,
and immediately repeated everywhere by the thoughtless multitude. In
the first pamphlet he assailed the governments which only sought their
own particular advantage. In the second, likewise misunderstood, he
irritated all the artists. His fiercest indignation was expended upon
the born arch-enemies of our art and culture in the same year, 1850,
when he published "Judaism in Music," under the name of "Freigedank."
"What the heroes of the fine arts have wrested in the course of two
thousand unhappy years of strenuous and persistent efforts, from
the demon hostile to art, the Jew to-day converts into drafts on
art-merchandise. Who would imagine that this great work has been
cemented with the sweat and toil of genius for two thousand years,"
he exclaims in the exasperation of his soul at these flippant
time-servers who dominated in the concert-hall and on the stage.
Naturally the legion of their followers did not become his friends.
They controlled the press, and it is due to this, that his most
important writings are known even to-day only by his friends.

About this time he wrote the poetry to "Wiland der Schmied." It was in
Paris he showed the Germans how dire necessity contrives the wings
with which to escape from bondage and regain sweet liberty. Under the
peculiar constraint which work, foreign to his nature, imposed upon
him and which made him sick in body and soul, his eyes one day fell
upon the score of "Lohengrin." Two words to Liszt and the reply
determined him upon its performance. It occurred, August 28, 1850. It
was in fact a fresh protest against a false art-world and in 1870,
when the German people stood arrayed in arms against our foreign enemy
everyone exclaimed in astonishment, "Lohengrin!" This selection for
the celebration of Goethe's birthday was worthy of his memory, for
Wagner, as great a