At thirteen Wagner[52] translated about half the "Odyssey" voluntarily; at fourteen began the tragedy which was to combine the grandeur of two of Shakespeare's dramas; at sixteen he tried "his new-fledged musical wings by soaring at once to the highest peaks of orchestral achievement without wasting any time on the humble foot-hills." He sought to make a new departure, and, compared to the grandeur of his own composition, "Beethoven's Ninth Symphony appeared like a simple Pleyel Sonata." To facilitate the reading of his astounding score, he wrote it in three kinds of ink--red for strings, green for the wood-wind, and black for the brass instruments. He writes that this overture was the climax of his absurdities, and although the audience before which an accommodating orchestra played it were disgusted and the musicians were convulsed with laughter, it made a deep impression upon the author's mind. Even after matriculating at the university he abandoned himself so long to the dissipations common to student life before the reaction came that his relatives feared that he was a good-for-nothing. In his "Hannele," Hauptmann, the dramatist, describes in a kind of dream poem what he supposed to pass through the mind of a dying girl of thirteen or fourteen, who does not wish to live and is so absorbed by the "Brownies of her brain" that she hardly knows whether she is alive on earth or dead in heaven, and who sees the Lord Jesus in the form of the schoolmaster whom she adores. In her closing vision there is a symbolic representation of her own resurrection. To the passionate discussions in Germany, England, and France, as to whether this character is true to adolescence, we can only answer with an emphatic affirmative; that her heaven abounds in local color and in fairy tale items, that it is very material, and that she is troubled by fears of sin against the Holy Ghost, is answer enough in an ill-used, starving child with a fevered brain, whose dead mother taught her these things. Saint-Pierre's "Paul and Virginia" is an attempt to describe budding adolescence in a boy and girl born on a remote island and reared in a state of natural simplicity The descriptions are sentimental after the fashion of the age in France, and the pathos, which to us smacks of affectation and artificiality, nevertheless has a vein of truth in it. The story really begins when the two children were twelve; and the description of the dawn of love and melancholy in Virginia's heart, for some time concealed from Paul, of her disquiet and piety, of the final frank avowal of eternal love by each, set of by the pathetic separation, and of the undying love, and finally the tragic death and burial of each--all this owes its charm, for its many generations of readers, to its merits as an essentially true picture of the human heart at this critical age. This work and Rousseau[53] have contributed to give French literature its peculiar cast in its description of this age.