My Life. Volume 2

Alexander Muller soon disappeared from our midst, as he became more and more engrossed by domestic calamities, bodily infirmities, and the mechanical drudgery of giving lessons by the hour. As for the musician Abt, I had never felt particularly drawn towards him, in spite of his Schwalben, and he too speedily left us to carve a brilliant career for himself in Brunswick.

In the meantime, however, our Zurich circle was enriched by all kinds of additions from without, mainly due to the political shipwrecks. On my return, in January, 1850, I had already found Adolph Kolatschek, a plain, though not unprepossessing-looking man, though he was a bit of a bore. He imagined himself born to be an editor, and had founded a German monthly magazine, which was to open a field for those who had been outwardly conquered in the recent movements to continue their fight in the inner realm of the spirit. I felt almost flattered at being picked out by him as an author, and being informed that 'a power like mine' ought not to be absent from a union of spiritual forces such as was to be established by his enterprise. I had previously sent him from Paris my treatise on Kunst und Klima; and he now gladly accepted some fairly long extracts from my still unpublished Oper und Drama, for which he moreover paid me a handsome fee. This man made an indelible impression on my mind as the only instance I have met of a really tactful editor. He once handed me the manuscript of a review on my Kunstwerk der Zukunft, written by a certain Herr Palleske, to read, saying that he would not print it without my express consent, though he did not press me to give it. It was a superficial article, without any true comprehension of the subject, and couched in most arrogant terms. I felt that if it appeared in this particular journal it would certainly demand inconvenient and wearisome rejoinders from me, in which I should have to restate my original thesis. As I was by no means inclined to enter upon such a controversy, I agreed to Kolatschek's proposal, and suggested that he had better return the manuscript to its author for publication elsewhere.

Through Kolatschek I also learned to know Reinhold Solger, a really excellent and interesting man. But it did not suit his restless and adventurous spirit to remain cooped up in the small and narrow Swiss world of Zurich, so that he soon left us and went to North America, where I heard that he went about giving lectures and denouncing the political situation in Europe. It was a pity that this talented man never succeeded in making a name for himself by more important work. His contributions to our monthly journal, during the brief term of his stay in Zurich, were certainly among the best ever written on these topics by a German.

In the new year, 1851, Georg Herwegh also joined us, and I was delighted to meet him one day at Kolatschek's lodgings. The vicissitudes which had brought him to Zurich came to my knowledge afterwards in a somewhat offensive and aggressive manner. For the present, Herwegh put on an aristocratic swagger and gave himself the airs of a delicately nurtured and luxurious son of his times, to which a fairly liberal interpolation of French expletives at least added a certain distinction. Nevertheless, there was something about his person, with his quick, flashing eye and kindliness of manner, which was well calculated to exert an attractive influence. I felt almost flattered by his ready acceptance of my invitation to my informal evening parties, which may, perhaps, have been fairly agreeable gatherings, as Bulow entertained us with music, though to me personally they afforded no mental sustenance whatever. My wife used to declare that, when I proceeded to read from my manuscript, Kolatschek promptly fell asleep, while Herwegh gave all his attention to her punch. When, later on, as I have already mentioned, I read my Oper und Drama for twelve consecutive evenings to our Zurich friends, Herwegh stayed away, because he did not wish to mix with those for whom such things had not been written. Yet my intercourse with him became gradually more cordial. Not only did I respect his poetical talent, which had recently gained recognition, but I also learned to realise the delicate and refined qualities of his richly cultivated intellect, and in course of time learned that Herwegh, on his side, was beginning to covet my society. My steady pursuit of those deeper and more serious interests which so passionately engrossed me seemed to arouse him to an ennobling sympathy, even for those topics which, since his sudden leap into poetic fame, had been, greatly to his prejudice, smothered under mere showy and trivial mannerisms, altogether alien to his original nature. Possibly this process was accelerated by the growing difficulties of his position, which he had hitherto regarded as demanding a certain amount of outward show. In short, he was the first man in whom I met with a sensitive and sympathetic comprehension of my most daring schemes and opinions, and I soon felt compelled to believe his assertion that he occupied himself solely with my ideas, into which, certainly, no other man entered so profoundly as he did.

This familiarity with Herwegh, in which an element of affection was certainly mingled, was further stimulated by news which reached me respecting a new dramatic poem which I had sketched out for the coining spring. Liszt's preparations in the late summer of the previous year for the production in Weimar of my Lohengrin had met with more success than, with such limited resources, had hitherto seemed possible. This result could naturally only have been obtained by the zeal of a friend endowed with such rich and varied gifts as Liszt. Though it was beyond his power to attract quickly to the Weimar stage such singers as Lohengrin demanded, and he had been compelled on many points to content himself with merely suggesting what was intended to be represented, yet he was now endeavouring by sundry ingenious methods to make these suggestions clearly comprehensible. First of all, he prepared a detailed account of the production of Lohengrin. Seldom has a written description of a work of art won for it such attentive friends, and commanded their enthusiastic appreciation from the outset, as did this treatise of Liszt's, which extended even to the most insignificant details. Karl Ritter distinguished himself by providing an excellent German translation of the French original, which was first published in the Illustrirte Zeitung. Shortly after this Liszt also issued Tannhauser in French, accompanied by a similar preface on its origin, and these pamphlets were the chief means of awakening, now and for long after, especially in foreign countries, not only a surprisingly sympathetic interest in these works, but also an intimate understanding of them such as could not possibly have been attained by the mere study of my pianoforte arrangements. But, far from being satisfied with this, Liszt contrived to attract the attention of intellects outside Weimar to the performances of my operas, in order, with kindly compulsion, to force them upon the notice of all who had ears to hear and eyes to see. Although his good intentions did not altogether succeed with Franz Dingelstedt, who would only commit himself to a confused report on Lohengrin in the Allgemeine Zeitung, yet his enthusiastic eloquence completely and decisively captured Adolf Stahr for my work. His detailed view of Lohengrin in the Berlin National-Zeitung, in which he claimed a high importance for my opera, did not remain without permanent influence upon the German public. Even in the narrow circle of professional musicians its effects seem not to have been unimportant; for Robert Franz, whom Liszt dragged almost by force to a performance of Lohengrin, spoke of it with unmistakable enthusiasm. This example gave the lead to many other journals, and for some time it seemed as though the otherwise dull-witted musical press would energetically champion my cause.

I shall shortly have occasion to describe what it was that eventually gave quite a different direction to this movement. Meanwhile Liszt felt emboldened by these kindly signs to encourage me to renew my creative activity, which had now for some time been interrupted. His success with Lohengrin gave him confidence in his ability to execute a yet more hazardous undertaking, and he invited me to set my poem of Siegfried's Death to music for production at Weimar. On his recommendation, the manager of the Weimar theatre, Herr von Ziegesar, offered to make a definite contract with me in the name of the Grand Duke. I was to finish the work within a year, and during that period was to receive a payment of fifteen hundred marks (L75).

It was a curious coincidence that about this time, and also through Liszt, the Duke of Coburg invited me to arrange the instrumentation for an opera of his own composition, for which he offered me the sum of two thousand seven hundred marks (L135). In spite of my position as an outlaw, my noble patron and would-be employer offered to receive me in his castle at Coburg, where, in quiet seclusion with himself and Frau Birchpfeiffer, the writer of the libretto, I might execute the work. Liszt naturally expected nothing more from me than a decent excuse for declining this offer, and suggested my pleading 'bodily and mental depression.' My friend told me afterwards that the Duke had desired my co-operation with him in his score on account of my skilful use of trombones. When he inquired, through Liszt, what my rules for their manipulation were, I replied that before I could write anything for trombones I required first to have some ideas in my head.

On the other hand, however, I felt very much tempted to entertain the Weimar proposal. Still weary from my exhausting labour on Oper und Drama, and worried by many things which had a depressing effect on my spirits, I seated myself for the first time for many months at my Hartel grand-piano, which had been rescued from the Dresden catastrophe, to see whether I could settle down to composing the music for my ponderous heroic drama. In rapid outline I sketched the music for the Song of the Norns, or Daughters of the Rhine, which in this first draft was only roughly suggested. But when I attempted to turn Brunhilda's first address to Siegfried into song my courage failed me completely, for I could not help asking myself whether the singer had yet been born who was capable of vitalising this heroic female figure. The idea of my niece Johanna occurred to me, whom, as a matter of fact, I had already destined for this rule when I was still in Dresden on account of her various personal charms. She had now entered upon the career of prima donna at Hamburg, but, judging from all the reports I had received, and especially from the attitude towards me that she openly adopted in her letters to her family, I could only conclude that my modest hopes of enlisting her talents on my behalf were doomed to disappointment. I was, moreover, confused by the fact that a second Dresden prima donna, Mme. Gentiluomo Spatzer, who had once enraptured Marschner with Donizetti's dithyrambics, kept hovering perpetually before my mind as a possible substitute for Johanna. At last, in a rage, I sprang up from the piano, and swore that I would write nothing more for these silly fastidious schoolgirls. Whenever I saw any likelihood of being again brought into closer contact with the theatre I was filled with an indescribable disgust which, for the time being, I was unable to overcome. It was some little consolation to discover that bodily ill-health might possibly be at the bottom of this mental disorder. During the spring of this year I had been suffering from a curious rash, which spread over my whole body. For this my doctor prescribed a course of sulphur-baths, to be taken regularly every morning. Although the remedy excited my nerves so much that later on I was obliged to adopt radical measures for the restoration of my health, yet in the meantime the regular morning walk to the town and back, surrounded by the fresh green and early spring flowers of May, acted as a cheerful stimulant on my mental condition. I now conceived the idea of the poem of Junger Siegfried, which I proposed to issue as a heroic comedy by way of prelude and complement to the tragedy of Siegfrieds Tod. Carried away by my conception, I tried to persuade myself that this piece would be easier to produce than the other more serious and terrible drama. With this idea in my mind I informed Liszt of my purpose, and offered the Weimar management to compose a score for Junger Siegfried, which as yet was unwritten, in return for which I would definitely accept their proposal to grant me a year's salary of fifteen hundred marks. This they agreed to without delay, and I took up my quarters in the attic-room evacuated the previous year by Karl Ritter, where, with the aid of sulphur and May-blossom, and in the highest spirits, I proposed to complete the poem of Junger Siegfried, as already outlined in my original design.

I must now give some account of the cordial relations which, ever since my departure from Dresden, I had maintained with Theodor Uhlig, the young musician of the Dresden orchestra, which I have already described, and which by this time had developed into a genuinely productive association. His independent and indeed somewhat uncultivated disposition had been moulded into a warm, almost boundless devotion to myself, inspired both by sympathy for my fate and a thorough understanding of my works. He also had been among the number of those who had visited Weimar to hear my Lohengrin, and had sent me a very detailed account of the performance. As Hartel, the music-dealer in Leipzig, had willingly agreed to my request to publish Lohengrin on condition that I should not demand any share in the profits, I entrusted Uhlig with the preparation of the pianoforte arrangement. But it was more the theoretical questions discussed in my works that formed the chief link that bound us together by a serious correspondence. The characteristic which especially touched me about this man, whom from his training I could regard merely as an instrumentalist, was that he had grasped with clear understanding and perfect agreement those very tendencies of mine which many musicians of apparently wider culture than his own regarded with almost despairing horror, as being dangerous to the orthodox practice of their art. He forthwith acquired the literary facility necessary for the expression of his agreement with my views, and gave tangible proof of this in a lengthy treatise on 'Instrumental Music,' which appeared in Kolatschek's German monthly journal. He also sent to me another strictly theoretical work on the 'Structure of Musical Theme and Phrase.' In this he showed the originality of his ideas about Mozart's and Beethoven's methods, to an extent which was only equalled by the thoroughness with which he had mastered the question, especially where he discussed their highly characteristic differences. This clear and exhaustive treatise appeared to me admirably adapted to form the basis for a new theory of the higher art of musical phrasing, whereby Beethoven's most obscure construction might be explained, and elaborated into a comprehensible system that would allow of further application. These treatises attracted the attention of Franz Brendel, the astute publisher of the Neue Zeitschrift fur Musik, to their brilliant young author. He was invited by Brendel to join the staff of his paper, and soon succeeded in changing his chief's previous attitude of indecision. As Brendel's aims were on the whole perfectly honourable and serious, he was quickly and definitely led to adopt those views which from this time began to make a stir in the musical world under the title of the 'New Tendency.' I thereupon felt impelled to contribute an epoch-making article to his paper on these lines. I had noticed for some time that such ill-sounding catch-phrases as 'Jewish ornamental flourishes' (Melismas), 'Synagogue Music,' and the like were being bandied about without any rhyme or reason beyond that of giving expression to meaningless irritation. The question thus raised regarding the significance of the modern Jew in music stimulated me to make a closer examination of Jewish influence and the characteristics peculiar to it. This I did in a lengthy treatise on 'Judaism in Music.' Although I did not wish to hide my identity, as its author, from all inquiries, yet I considered it advisable to adopt a pseudonym, lest my very seriously intended effort should be degraded to a purely personal matter, and its real importance be thereby vitiated. The stir, nay, the genuine consternation, created by this article defies comparison with any other similar publication. The unparalleled animosity with which, even up to the present day, I have been pursued by the entire press of Europe can only be understood by those who have taken an account of this article and of the dreadful commotion which it caused at the time of its publication. It must also be remembered that almost all the newspapers of Europe are in the hands of Jews. Apart from these facts, it would be impossible to understand the unqualified bitterness of this lasting persecution, which cannot be adequately explained on the mere ground of a theoretical or practical dislike for my opinions or artistic works. The first outcome of the article was a storm which broke over poor Brendel, who was entirely innocent, and, indeed, hardly conscious of his offence. This erelong developed into a savage persecution which aimed at nothing less than his ruin. Another immediate result was that the few friends whom Liszt had induced to declare themselves in my favour forthwith took refuge in a discreet silence. As it soon seemed advisable, in the interests of their own productions, to give direct evidence of their estrangement from me, most of them passed over to the ranks of my enemies. But Uhlig clung to me all the more closely on this account. He strengthened Brendel's weaker will to endurance, and kept helping him with contributions for his paper, some of them profound and others witty and very much to the point. He fixed his eye more particularly on one of my chief antagonists, a man named Bischoff, whom Hiller had discovered in Cologne, and who first invented for me and my friends the title of Zukunftsmusiker ('Musicians of the Future'). With him he entered into a prolonged and somewhat diverting controversy. The foundation had now been laid for the problem of the so-called Zukunftsmusik ('Music of the Future'), which was to become a European scandal, in spite of the fact that Liszt quickly adopted the title himself with good-humoured pride. It is true that I had to some extent suggested this name in the title of my book, Kunstwerk der Zukunft; but it only developed into a battle-cry when 'Judaism in Music' unbarred the sluices of wrath upon me and my friends.

My book, Oper und Drama, was published in the second half of this year, and, so far as it was noticed at all by the leading musicians of the day, naturally only helped to add fuel to the wrath which blazed against me. This fury, however, assumed more the character of slander and malice, for our movement had meantime been reduced by a great connoisseur in such things, Meyerbeer, to a clearly defined system, which he maintained and practised with a sure hand until his lamented death.

Uhlig had come across my book, Oper und Drama, during the early stages of the furious uproar against me. I had presented him with the original manuscript, and as it was nicely bound in red, I hit upon the idea of writing in it, by way of dedication, the words, 'RED, my friend, is MY theory,' in contradistinction to the Gothic saying, 'Grey, my friend, is all theory.' This gift elicited an exhilarating and most delightful correspondence with my lively and keen-sighted young friend, who, after two long years of separation, I felt sincerely desirous of seeing again. It was not an easy matter for the poor fiddler, whose pay was barely that of a chamber musician, to comply with my invitation. But he gladly tried to overcome all difficulties, and said he would come early in July. I decided to go as far as Rorschach, on the Lake of Constance, to meet him, so that we might make an excursion through the Alps as far as Zurich. I went by a pleasant detour through the Toggenburg, travelling on foot as usual. In this way, cheerful and refreshed, I reached St. Gall, where I sought out Karl Ritter, who, since Bulow's departure, had remained there alone in curious seclusion. I could guess the reason of his retirement, although he said that he had enjoyed very agreeable intercourse with a St. Gall musician named Greitel, of whom I never heard anything further. Though very tired after my long walking tour, I could not refrain from submitting the manuscript of my Jungcr Siegfried, which I had just finished, to the quick and critical judgment of this intelligent young man, who was thus the first person to hear it. I was more than gratified by its effect upon him, and, in high spirits, persuaded him to forsake his strange retreat and go with me to meet Uhlig, so that we might all three proceed over the Santis for a long and pleasant stay in Zurich. My first glance at my guest, as he landed at the familiar harbour of Rorschach, filled me at once with anxiety for his health, for it revealed but too plainly his tendency to consumption. In order to spare him, I wished to give up the proposed mountain climb, but he eagerly protested that exercise of this kind in the fresh air could only do him good after the drudgery of his wretched fiddling. After crossing the little canton of Appenzell, we had to face the by no means easy crossing of the Santis. It was my first experience also of travelling over an extensive snow-field in summer. After reaching our guide's hut, which was perched on a rugged slope, where we regaled ourselves with exceedingly frugal fare, we had to climb the towering and precipitous pinnacle of rock which forms the summit of the mountain, a few hundred feet above us. Here Karl suddenly refused to allow us, and to shake him out of his effeminacy I had to send back the guide for him, who, at our request, succeeded in bringing him along, half by force. But now that we had to clamber from stone to stone along the precipitous cliff, I soon began to realise how foolish I had been in compelling Karl to share our perilous adventure. His dizziness evidently stupefied him, for he stared in front of him as though he could not see, and we had to hold him fast between our alpenstocks, every moment expecting to see him collapse, and tumble into the abyss. When we at last attained the summit, he sank senseless on the ground, and I now fully understood what a terrible responsibility I had undertaken, as the yet more dangerous descent had still to be made. In an agony of fear, which, while it made me forget my own danger altogether, filled me with a vision of my young friend lying shattered on the rocks below, we at last reached the guide's cottage in safety. As Uhlig and myself were still determined to descend the precipitous further side of the mountain, a feat which the guide informed us was not without danger, I resolved to leave young Ritter behind in the hut, as the indescribable anguish I had just endured on his behalf had been a warning to me. Here he was to await the return of our guide, and in his company take the not very dangerous path by which we had come. We accordingly parted, as he was to return in the direction of Gall, while we two roamed through the lovely Toggenburg valley, and the next day by Rappersweil to the Lake of Zurich, and so home. Not until many days later did Karl relieve our anxiety concerning him by arriving at Zurich. He remained with us a short time, and then departed, probably wishing to escape being tempted into more mountain climbing, which we had certainly planned. I heard from him afterwards when he had settled for some time in Stuttgart, where he seemed to be doing well. He soon made great friends with a young actor, and lived on terms of great intimacy with him.

I was sincerely delighted by the close intercourse I now had with the gentle young Dresden chamber musician, whose manly strength of character and extraordinary mental endowments greatly endeared him to me. My wife said that his curly golden hair and bright blue eyes made her think an angel had come to stay with us. For me his features had a peculiar and, considering his fate, pathetic interest, on account of his striking resemblance to King Friedrich August of Saxony, my former patron, who was still alive at that time, and seemed to confirm a rumour which had reached me that Uhlig was his natural son. It was entertaining to hear his news of Dresden, and all about the theatre, and the condition of musical affairs in that city. My operas, which had once been its glory, had now quite vanished from the repertoire. He gave me a choice example of my late colleagues' opinion of me by relating the following incident. When Kunst und Revolution and Kunstwerk der Zukunft appeared, and were being discussed among them, one of them remarked: 'Ha! he may worry a long time before he will be able to write conductor before his name again.' By way of illustrating the advance made in music, he related the manner in which Reissiger, having on one occasion to conduct Beethoven's Symphony in A major, which had been previously executed by me, had helped himself out of a sudden dilemma. Beethoven, as is well known, marks the great finale of the last movement with a prolonged forte, which he merely heightens by a sempre piu forte. At this point Reissiger, who had conducted the Symphony before me, thinking the opportunity a favourable one, had introduced a piano, in order at least to secure an effective crescendo. This I had naturally ignored, and had instructed the orchestra to play with their full strength throughout. Now, therefore, that the conducting of this work had once more fallen into my predecessor's hands, he found it difficult to restore his unlucky piano; but, feeling that he must save his authority, which had been compromised, he made a rule that mezzo forte should be played instead of forte.

But the most painful news he gave me was about the state of utter neglect into which my unhappy operatic publications had fallen in the hands of the court music-dealer Meser, who, seeing that money had to be continually paid out, while nothing came in, regarded himself as a sacrificial lamb whom I had lured to the slaughter. Yet he steadily refused all inspection of his books, maintaining that he thereby protected my property, as all I possessed having been confiscated, it would otherwise be seized at once. A pleasanter topic than this was Lohengrin. My friend had completed the pianoforte arrangement, and was already busy correcting the engraver's proofs.

By his enthusiastic advocacy of the water cure, Uhlig gained an influence over me in another direction, and one which was of long duration. He brought me a book on the subject by a certain Rausse, which pleased me greatly, especially by its radical principles, which had something of Feuerbach about them. Its bold repudiation of the entire science of medicine, with all its quackeries, combined with its advocacy of the simplest natural processes by means of a methodical use of strengthening and refreshing water, quickly won my fervent adherence. He maintained, for instance, that every genuine medicine can only act upon our organism in so far as it is a poison, and is therefore not assimilated by our system; and proved, moreover, that men who had become weak owing to a continuous absorption of medicine, had been cured by the famous Priesnitz, who had effectually driven out the poison contained in their bodies by expelling it through the skin. I naturally thought of the disagreeable sulphur baths I had taken during the spring, and to which I attributed my chronic and severe state of irritability. In so doing I was probably not far wrong. For a long while after this I did my best to expel this and all other poisons which I might have absorbed in the course of time, and by an exclusive water regimen restore my original healthy condition. Uhlig asserted that by persevering conscientiously in a water cure, he was perfectly confident of being able to renew his own bodily health entirely, and my own faith in it also grew daily.

At the end of July we started on an excursion through the centre of Switzerland. From Brunnen, on the Lake of Lucerne, we proceeded via Beckenried to Engelberg, from which place we crossed the wild Surenen-Eck, and on this occasion learned how to glide over the snow fairly easily. But in crossing a swollen mountain torrent Uhlig had the misfortune to fall into the water. By way of quieting my uneasiness about him, he at once exclaimed that this was a very good way of carrying out the water cure. He made no fuss about the drying of his clothes, but simply spread them out in the sun, and in the meanwhile calmly promenaded about in a state of nature in the open air, protesting that this novel form of exercise would do him good. We occupied the interval in discussing the important problem of Beethoven's theme construction, until, by way of a joke, I told him that I could see Councillor Carns of Dresden coming up behind him with a party, which for a moment quite frightened him. Thus with light hearts we reached the Reuss valley near Attinghausen, and in the evening wandered on as far as Amsteg, and the next morning, in spite of our great fatigue, at once visited the Madran valley. There we climbed the Hufi glacier, whence we enjoyed a splendid view over an impressive panorama of mountains, bounded at this point by the Tody range. We returned the same day to Amsteg, and as we were both thoroughly tired out, I dissuaded my companion from attempting the ascent of the Klausen Pass to the Schachen valley, which we had planned for the following day, and induced him to take the easier way home via Fluelen. When, early in August, my young friend, who was always calm and very deliberate in his manner, set out on his return journey to Dresden, I could detect no signs of exhaustion about him. He was hoping on his arrival to lighten the heavy burden of life a little by undertaking the conductorship of the entr'acte music at the theatre, which he proposed to organise artistically, and thus set himself free from the oppressive and demoralising service of the opera. It was with sincere grief that I accompanied him to the mail-coach, and he too seemed to be seized with sudden foreboding. As a matter of fact, this was the last time we ever met.

But for the present we carried on an active correspondence, and as his communications were always pleasant and entertaining, and for a long time constituted almost my sole link with the outside world, I begged him to write me long letters as often as possible. As postage was expensive at that time, and voluminous letters touched our pockets severely, Uhlig conceived the ingenious idea of using the parcel post for our correspondence. As only packets of a certain weight might be sent in this way, a German translation of Beaumarchais' Figaro, of which Uhlig possessed an ancient copy, enjoyed the singular destiny of acting as ballast for our letters to and fro. Every time, therefore, that our epistles had swelled, to the requisite length, we announced them with the words: 'Figaro brings tidings to-day.'

Uhlig meanwhile found much pleasure in the Mittheilung an meine Freunde ('A Communication to my Friends'), which, immediately after our separation, I wrote as a preface to an edition of my three operas, the Fliegender Hollander, Tannhauser, and Lohengrin. He was also amused to hear that Hartel, who had accepted the book for publication on payment of ten louis d'or, protested so vigorously against certain passages in this preface, which wounded his orthodoxy and political feelings, that I thought seriously of giving the book to another firm. However, he finally persuaded me to give way, and I pacified his tender conscience by a few trifling alterations.

With this comprehensive preface, which had occupied me during the whole of the month of August, I hoped that my excursion into the realms of literature would be ended once and for all. However, as soon as I began to think seriously about taking up the composition of Junger Siegfried, which I had promised for Weimar, I was seized with depressing doubts which almost amounted to a positive reluctance to attempt this work. As I could not clearly discern the reason of this dejection, I concluded that its source lay in the state of my health, so I determined one day to carry out my theories about the advantages of a water cure, which I had always propounded with great enthusiasm. I made due inquiries about a neighbouring hydropathic establishment, and informed my wife that I was going off to Albisbrunnen, which was situated about three miles from our abode. It was then about the middle of September, and I had made up my mind not to come back until I was completely restored to health.

Minna was quite frightened when I announced my intention, and looked upon it as another attempt on my part to abandon my home. I begged of her, however, to devote herself during my absence to the task of furnishing and arranging our new flat as comfortably as possible. This, although small, was conveniently situated on the ground floor of the Vordern Escher Hauser im Zeltweg. We had determined to move back to the town, on account of the great inconvenience of the situation of our present quarters, especially during winter time. Everybody, of course, was astonished at the idea of my undertaking a water cure so late in the season. Nevertheless, I soon succeeded in securing a fellow-patient. I was not fortunate enough to get Herwegh, but Fate was kind in sending me Hermann Muller, an ex-lieutenant in the Saxon Guards, and a former lover of Schroder-Devrient, who proved a most cheerful and pleasant companion. It had become impossible for him to maintain his position in the Saxon army, and although he was not exactly a political refugee, every career was closed to him in Germany, and yet he met with all the consideration of an exiled patriot when he came to Switzerland to try and make a fresh start in life. We had seen a good deal of each other in my early Dresden days, and he soon felt at home in my house, where my wife always gave him a warm welcome. I easily persuaded him to follow me shortly to Albisbrunnen to undergo a thorough treatment for an infirmity from which he was suffering. I established myself there as comfortably as I could, and I looked forward to excellent results. The cure itself was superintended in the usual superficial way by a Dr. Brunner, whom my wife, on one of her visits to this place, promptly christened the 'Water Jew,' and whom she heartily detested. Early at five o'clock in the morning I was wrapped up and kept in a state of perspiration for several hours; after that I was plunged into an icy cold bath at a temperature of only four degrees; then I was made to take a brisk walk to restore my circulation in the chilly air of late autumn. In addition I was kept on a water diet; no wine, coffee, or tea was allowed; and this regime, in the dismal company of nothing but incurables, with dull evenings only enlivened by desperate attempts at games of whist, and the prohibition of all intellectual occupation, resulted in irritability and overwrought nerves. I led this life for nine weeks, but I was determined not to give in until I felt that every kind of drug or poison I had ever absorbed into my system had been brought to the surface. As I considered that wine was most dangerous, I presumed that my system still contained many unassimilated substances which I had absorbed at various dinner-parties at Sulzer's, and which must evaporate in profuse perspiration. This life, so full of privations, which I led in rooms miserably furnished with common deal and the usual rustic appointments of a Swiss pension, awoke in me by way of contrast an insuperable longing for a cosy and comfortable home; indeed, as the year went on, this longing became a passionate desire. My imagination was for ever picturing to itself the manner and style in which a house or a dwelling ought to be appointed and arranged, in order to keep my mind pleasantly free for artistic creation.

At this time symptoms of a possible improvement in my position appeared. Karl Ritter, unfortunately for himself, wrote to me from Stuttgart while I was at the hydro, describing his own private attempts to secure the benefits of a water cure—not by means of baths, but by drinking quantities of water. I had found out that it was most dangerous to drink large quantities of water without undergoing the rest of the treatment, so I implored Karl to submit to the regular course, and not to have an effeminate fear of privations, and to come at once to Albisbrunnen. He took me at my word, and to my great delight arrived in a few days' time at Albisbrunnen. Theoretically he was filled with enthusiasm for hydropathy, but he soon objected to it in practice; and he denounced the use of cold milk as indigestible and against the dictates of Nature, as mother's milk was always warm. He found the cold packs and the cold baths too exciting, and preferred treating himself in a comfortable and pleasant way behind the doctor's back. He soon discovered a wretched confectioner's shop in the neighbouring village, and when he was caught buying cheap pastry on the sly, he was very angry. He soon grew perfectly miserable, and would fain have escaped, had not a certain feeling of honour prevented him from doing so. The news reached him here of the sudden death of a rich uncle, who had left a considerable fortune to every member of Karl's family. His mother, in telling him and me of the improvement in her position, declared that she was now able to assure me the income which the two families of Laussot and Ritter had offered me some time ago. Thus I stepped into an annual income of two thousand four hundred marks for as long as I required it, and into partnership with the Ritter family.

This happy and encouraging turn of events made me decide to complete my original sketch of the Nibelungen, and to bring it out in our theatres without paying any regard to the practicability of its various parts. In order to do this I felt that I must free myself from all obligations to the management of the Weimar theatre. I had already drawn six hundred marks salary from this source, but Karl was enchanted to place this sum at my disposal in order that I might return it. I sent the money back to Weimar with a letter expressing my most grateful acknowledgments to the management for their conduct towards me, and at the same time I wrote to Liszt, giving him the fullest particulars of my great plan, and explaining how I felt absolutely compelled to carry it out.

Liszt, in his reply, told me how delighted he was to know that I was now in a position to undertake such a remarkable work, which he considered in every respect worthy of me if only on account of its surprising originality. I began to breathe freely at last, because I had always felt that it was merely self-deception on my part to maintain that it would be possible to produce Junger Siegfried with the limited means at the disposal of even the best German theatre.

My water cure and the hydropathic establishment became more and more distasteful to me; I longed for my work, and the desire to get back to it made me quite ill. I tried obstinately to conceal from myself that the object of my cure had entirely failed; indeed, it had really done me more harm than good, for although the evil secretions had not returned, my whole body seemed terribly emaciated. I considered that I had had quite enough of the cure, and comforted myself with the hope that I should derive benefit from it in the future. I accordingly left the hydropathic establishment at the end of November. Muller was to follow me in a few days, but Karl, wishing to be consistent, was determined to remain until he perceived a similar result in himself to the one I had experienced or pretended I had experienced. I was much pleased with the way in which Minna had arranged our new little flat in Zurich. She had bought a large and luxurious divan, several carpets for the floor and various dainty little luxuries, and in the back room my writing-table of common deal was covered with a green tablecloth and draped with soft green silk curtains, all of which my friends admired immensely. This table, at which I worked continually, travelled with me to Paris, and when I left that city I presented it to Blandine Ollivier, Liszt's elder daughter, who had it conveyed to the little country house at St. Tropez, belonging to her husband, where, I believe, it stands to this day. I was very glad to receive my Zurich friends in my new home, which was so much more conveniently situated than my former one; only I quite spoilt all my hospitality for a long time by my fanatical agitation for a water diet and my polemics against the evils of wine and other intoxicating drinks. I adopted what seemed almost a new kind of religion: when I was driven into a corner by Sulzer and Herwegh, the latter of whom prided himself on his knowledge of chemistry and physiology, about the absurdity of Rausse's theory of the poisonous qualities contained in wine, I found refuge in the moral and aesthetic motive which made me regard the enjoyment of wine as an evil and barbarous substitute for the ecstatic state of mind which love alone should produce. I maintained that wine, even if not taken in excess, contained qualities producing a state of intoxication which a man sought in order to raise his spirits, but that only he who experienced the intoxication of love could raise his spirits in the noblest sense of the word. This led to a discussion on the modern relations of the sexes, whereupon I commented on the almost brutal manner in which men kept aloof from women in Switzerland. Sulzer said he would not at all object to the intoxication resulting from intercourse with women, but in his opinion the difficulty lay in procuring this by fair means. Herwegh was inclined to agree with my paradox, but remarked that wine had nothing whatever to do with it, that it was simply an excellent and strengthening food, which, according to Anacreon, agreed very well with the ecstasy of love. As my friends studied me and my condition more closely, they felt they had reason to be very anxious about my foolish and obstinate extravagances. I looked terribly pale and thin; I hardly slept at all, and in everything I did I betrayed a strange excitement. Although eventually sleep almost entirely forsook me, I still pretended that I had never been so well or so cheerful in my life, and I continued on the coldest winter mornings to take my cold baths, and plagued my wife to death by making her show me my way out with a lantern for the prescribed early morning walk.

I was in this state when the printed copies of Oper und Drama reached me, and I devoured rather than read them with an eccentric joy. I think that the delightful consciousness of now being able to say to myself, and prove to the satisfaction of everybody, and even of Minna, that I had at last completely freed myself from my hateful career as conductor and opera composer, brought about this immoderate excitement. Nobody had a right to make the demands upon me which two years ago had made me so miserable. The income which the Ritters had assured me for life, and the object of which was to give me an absolutely free hand, also contributed to my present state of mind, and made me feel confidence in everything I undertook. Although my plans for the present seemed to exclude all possibility of being realised, thanks to the indifference of an inartistic public, still I could not help inwardly cherishing the idea that I should not be for ever addressing only the paper on which I wrote. I anticipated that before long a great reaction would set in with regard to the public and everything connected with our social life, and I believed that in my boldly planned work there lay just the right material to supply the changed conditions and real needs of the new public whose relation to art would be completely altered with what was required. As these bold expectations had arisen in my mind in consequence of my observations of the state of society in general, I naturally could not say much about them to my friends. I had not mistaken the significance of the general collapse of the political movements, but felt that their real weakness lay in the inadequate though sincere expression of their cause, and that the social movement, so far from losing ground by its political defeat, had, on the contrary, gained in energy and expansion. I based my opinion upon the experience I had had during my last visit to Paris, when I had attended, among other things, a political meeting of the so-called social democratic party. Their general behaviour made a great impression upon me; the meeting took place in a temporary hall called Salle de la Fraternite in the Faubourg St. Denis; six thousand men were present, and their conduct, far from being noisy and tumultuous, filled me with a sense of the concentrated energy and hope of this new party. The speeches of the principal orators of the extreme left of the Assemblee Nationale astonished me by their oratorical flights as well as by their evident confidence in the future. As this extreme party was gradually strengthening itself against everything that was being done by the reactionary party then in power, and all the old liberals had joined these social democrats publicly and had adopted their electioneering programme, it was easy to see that in Paris, at all events, they would have a decided majority at the impending elections for the year 1852, and especially in the nomination of the President of the Republic. My own opinions about this were shared by the whole of France, and it seemed that the year 1852 was destined to witness a very important reaction which was naturally dreaded by the other party, who looked forward with great apprehension to the approaching catastrophe. The condition of the other European states, who suppressed every laudable impulse with brutal stupidity, convinced me that elsewhere too this state of affairs would not continue long, and every one seemed to look forward with great expectations to the decision of the following year.

I had discussed the general situation with my friend Uhlig, as well as the efficacy of the water-cure system; he had just come home fresh from orchestral rehearsals at the Dresden theatre, and found it very difficult to agree to a drastic change in human affairs or to have any faith in it. He assured me that I could not conceive how miserable and mean people were in general, but I managed to delude him into the belief that the year 1852 would be pregnant with great and important events. Our opinions on this subject were expressed in the correspondence which was once more diligently forwarded by Figaro.

Whenever we had to complain of any meanness or untoward circumstance, I always reminded him of this year, so great with fate and hope, and at the same time I hinted that we had better look forward quite calmly to the time when the great 'upheaval' should take place, as only then, when no one else knew what to do, could we step in and make a start.

I can hardly express how deeply and firmly this hope had taken possession of me, and I can only attribute all my confident opinions and declarations to the increased excitement of my nerves. The news of the coup d'etat of the 2nd of December in Paris seemed to me absolutely incredible, and I thought the world was surely coming to an end. When the news was confirmed, and events which no one believed could ever happen had apparently occurred and seemed likely to be permanent, I gave the whole thing up like a riddle which it was beneath me to unravel, and turned away in disgust from the contemplation of this puzzling world. As a playful reminiscence of our hopes of the year 1852, I suggested to Uhlig that in our correspondence during that year we should ignore its existence and should date our letters December '51, in consequence of which this said month of December seemed of eternal duration.

Soon afterwards I was overpowered by an extraordinary depression in which, somehow, the disappointment about the turn of political events and the reaction created by my exaggerated water cure, almost ruined my health. I perceived the triumphant return of all the disappointing signs of reaction which excluded every high ideal from intellectual life, and from which I had hoped the shocks and fermentations of the past few years had freed us for ever. I prophesied that the time was approaching when intellectually we should be such paupers that the appearance of a new book from the pen of Heinrich Heine would create quite a sensation. When, a short time afterwards, the Romancero appeared from the pen of this poet who had fallen into almost complete neglect, and was very well reviewed by the newspaper critics, I laughed aloud; as a matter of fact, I suppose I am among the very few Germans who have never even looked at this book, which, by the way, is said to possess great merit.

I was now compelled to pay a great deal of attention to my physical condition, as it gave me much cause for anxiety and necessitated a complete change in my methods. I introduced this change very gradually and with the co-operation of my friends. My circle of acquaintances had widened considerably this winter, although Karl Ritter, who had escaped from Albisbrunnen a week after my own departure and had tried to settle in our neighbourhood, ran off to Dresden, as he found Zurich much too slow for his youthful spirits. A certain family of the name of Wesendonck, who had settled in Zurich a short time before, sought my acquaintance, and took up their abode in the same quarters in the Hintern Escherhauser where I had lived when I first came to Zurich. They had taken the flat there on the recommendation of the famous Marschall von Bieberstein, who moved in after me in consequence of the revolution in Dresden. I remember, on the evening of a party there, that I displayed uncontrolled excitement in a discussion with Professor Osenbruck. I tormented him with my persistent paradoxes all through supper to such an extent that he positively loathed me, and ever afterwards carefully avoided coming into contact with me.

The acquaintance with the Wesendoncks was the means of giving me the entree to a delightful home, which in point of comfort was a great contrast to the usual run of houses in Zurich. Herr Otto Wesendonck, who was a few years younger than I was, had amassed a considerable fortune through a partnership in a silk business in New York, and seemed to make all his plans subservient to the wishes of the young wife whom he had married a few years before. They both came from the Lower Rhine country, and, like all the inhabitants of those parts, were fair haired. As he was obliged to take up his abode in some part of Europe which was convenient for the furtherance of his business in New York, he chose Zurich, presumably because of its German character, in preference to Lyons. During the previous winter they had both attended the performance of a symphony of Beethoven under my conductorship, and knowing what a sensation this performance had aroused in Zurich, they thought it would be desirable to include me in their circle of friends.

About this time I was persuaded to undertake the directorship of the augmented orchestra in view of the performance of some musical masterpieces at three concerts to be given early in the new year under the auspices of the Societe Musicale on conditions arranged in advance.

It gave me infinite pleasure on one of these occasions to conduct an excellent performance of Beethoven's music to Egmont. As Herwegh was so anxious to hear some of my own music I gave the Tannhauser Overture, as I told him, entirely to please him, and I prepared a descriptive programme as a guide. I also succeeded in giving an excellent rendering of the Coriolanus Overture, to which I had also written an explanatory programme. All this was taken up with so much sympathy and enthusiasm by my friends that I was induced to accede to the request of Lowe, who was at that time manager of the theatre, and implored me to give a performance of the Fliegender Hollander. For the sake of my friends I agreed to enter into negotiations with the opera company, an undertaking which, though it only lasted a very short time, was exceedingly objectionable. It is true that humane considerations animated me as well, as the performance was for the benefit of Schoneck, a young conductor, whose real talent for his art had completely won me over to him.

The efforts which this unaccustomed excursion into the regions of opera rehearsals, etc., cost me, greatly contributed to the overwrought state of my nerves, and I was obliged, in spite of all my rooted prejudices against doctors, to break faith with myself and, in accordance with the Wesendonck's special recommendation, to place myself in the hands of Dr. Rahn-Escher, who, by his gentle manner and soothing ways, succeeded after a time in bringing me into a healthier condition.

I longed to get well enough to be able to take in hand the completion of my combined Nibelungen poem. Before I could summon up the courage to begin, I thought I would wait for the spring, and in the meanwhile I occupied myself with a few trifles, amongst other things a letter to Liszt on the founding of a Goethe Institution (Goethe Stiftung), stating my ideas on the necessity of founding a German National Theatre, as also a second letter to Franz Brendel about the line of thought which in my opinion should be taken up in founding a new musical journal.

I recollect a visit from Henri Vieuxtemps at this time, who came to Zurich with Belloni to give an evening concert, and he again delighted me and my friends with his violin playing.

With the approach of spring I was agreeably surprised by a visit from Hermann Franck, with whom I had an interesting conversation about the general course of events since I had lost sight of him.

In his quiet way he expressed his astonishment at the enthusiastic manner in which I had got mixed up in the Dresden revolution. As I quite misunderstood his remark, he explained that he thought me capable of enthusiasm in everything, but he could hardly credit me with having taken a serious part in anything so foolish as trivial matters of that kind. I now learned for the first time what the prevalent opinion was about these much-maligned occurrences in Germany, and I was in a position to defend my poor friend Rockel, who had been branded as a coward, and to put not only his conduct but also my own in a different light to that in which it had been regarded hitherto even by Hermann Franck, who afterwards expressed his sincere regret that he had so misunderstood us.

With Rockel himself, whose sentence had by royal mercy been commuted to lifelong imprisonment, I carried on at this time a correspondence, the character of which soon showed that his life was more cheerful and happy in his enforced captivity than mine with its hopelessness, in spite of the freedom I enjoyed.

At last the month of May arrived, and I felt I needed change of air in the country in order to strengthen my weakened nerves and carry out my plans in regard to poetry. We found a fairly comfortable pied-a-terre on the Rinderknecht estate. This was situated halfway up the Zurich Berg, and we were able to enjoy an alfresco meal on the 22nd of May—my thirty-ninth birthday—with a lovely view of the lake and the distant Alps. Unfortunately a period of incessant rain set in which scarcely stopped throughout the whole summer, so that I had the greatest struggle to resist its depressing influence. However, I soon got to work, and as I had begun to carry out my great plan by beginning at the end and going backwards, I continued on the same lines with the beginning as my goal. Consequently, after I had completed the Siegfrieds Tod and Junger Siegfried, I next attacked one of the principal subjects, the Walkure, which was to follow the introductory prelude of the Rheingold. In this way I completed the poem of the Walkure by the end of June. At the same time I wrote the dedication of the score of my Lohengrin to Liszt, as well as a rhymed snub to an unprovoked attack on my Fliegender Hollander in a Swiss newspaper. A very disagreeable incident in connection with Herwegh pursued me to my retreat in the country. One day a certain Herr Haug, who described himself as an ex-Roman general of Mazzini's time, introduced himself to me with a view of forming a sort of conspiracy against him, on behalf, as he said, of the deeply offended family of the 'unfortunate lyric poet'; however, he did not succeed in getting any assistance from me. A much pleasanter incident was a long visit from Julia, the eldest daughter of my revered friend Frau Ritter, who had married Kummer, the young Dresden chamber musician, whose health seemed so entirely undermined that they were going to consult a celebrated hydropathic doctor who practised only a few miles from Zurich. I now had a good opportunity of abusing this water cure about which my young friends were so eager, and had always believed that I was perfectly mad on it also. But we left the chamber musician to his fate, and rejoiced at the long and pleasant visit of our amiable and charming young friend.

As I was quite satisfied with the success of my work, and the weather was exceptionally cold and rainy, we made up our minds to return to our cosy winter residence in Zurich at the end of June. I was resolved to stay there until the appearance of some real summer weather, when I intended to take a walking tour over the Alps, which I felt would be of great advantage to my health. Herwegh had promised to accompany me, but as he was apparently prevented from doing so, I started alone in the middle of July, after arranging with my travelling companion to meet me in Valais. I began my walking tour at Alpnach, on the Lake of Lucerne, and my plan was to wander by unfrequented paths to the principal points of the Bernese Oberland. I worked pretty hard, paying a visit, for instance, to the Faulhorn, which at that time was considered a very difficult mountain to climb. When I reached the hospice on the Grimsel by the Hasli Thal, I asked the host, a fine, stately-looking man, about the ascent of the Siedelhorn. He recommended me one of his servants as a guide, a rough, sinister-looking man, who, instead of taking the usual zig-zag paths up the mountain, led me up in a bee line, and I rather suspected he intended to tire me out. At the top of the Siedelhorn I was delighted to catch a glimpse, on one side, of the centre of the Alps, whose giant backs alone were turned to us; and on the other side, a sudden panorama of the Italian Alps, with Mont Blanc and Monte Rosa. I had been careful to take a small bottle of champagne with me, following the example of Prince Puckler when he made the ascent of Snowdon; unfortunately, I could not think of anybody whose health I could drink. We now descended vast snow-fields, over which my guide slid with mad haste on his alpenstock; I contented myself with leaning carefully on the iron point of mine, and coming down at a moderate pace.

I arrived at Obergestelen dead tired, and stayed there two days, to rest and await the arrival of Herwegh. Instead of coming himself, however, a letter arrived from him which dragged me down from my lofty communings with the Alps to the humdrum consideration of the unpleasant situation in which my unhappy friend found himself as a result of the incident I have already described. He feared that I had allowed myself to be taken in by his adversary, and had consequently formed an unfavourable opinion of him. I told him to make his mind easy on that score, and to meet me again, if possible, in Italian Switzerland. So I set out for the ascent of the Gries glacier, and the climb across the pass to the southern side of the Alps, in the company of my sinister guide alone. During the ascent an extremely sad sight kept meeting my eyes; an epidemic of foot-rot had broken out among cows in the Upper Alps, and several herds passed me in single file on their way to the valley, where they were going to be doctored. The cows had become so lean that they looked like skeletons, and dragged themselves pitiably down the slopes, and the smiling country with the fat meadow-land seemed to take a savage delight in gazing on this sad pilgrimage. At the foot of the glacier, which stood out sheer and steep before me, I felt so depressed, and my nerves were so overwrought, that I said I wished to turn back. I was thereupon met by the coarse sarcasm of my guide, who seemed to scoff at my weakness. My consequent anger braced up my nerves, and I prepared myself at once to climb the steep walls of ice as quickly as possible, so that this time it was he who found difficulty in keeping up with me. We accomplished the walk over the back of the glacier, which lasted nearly two hours, under difficulties which caused even this native of Grimsel anxiety, at least on his own account. Fresh snow had fallen, which partially concealed the crevasses, and prevented one from recognising the dangerous spots. The guide, of course, had to precede me here, to examine the path. We arrived at last at the opening of the upper valley which gives on to the Formazza valley, to which a steep cutting, covered with snow and ice, led. Here my guide again began his dangerous game of conducting me straight over the steepest slopes instead of going in a safe zig-zag; in this way we reached a precipitous moraine, where I saw such unavoidable danger ahead, that I insisted upon my guide going back with me some distance, until we struck a path that I had noticed which was not so steep. He was obliged to give in, much against the grain. I was deeply impressed by the first signs of cultivation that we saw in our descent from the desolate wilds. The first scanty meadow-land accessible to cattle was called the Bettel-Matt, and the first person we met was a marmot hunter. The wild scenery was soon enlivened by the marvellous swirl and headlong rush of a mountain river called the Tosa, which at one spot breaks into a superb waterfall with three distinct branches. After the moss and reeds had, in the course of our continuous descent, given place to grass and meadows, and the shrubs had been replaced by pine trees, we at last arrived at the goal of our day's journey, the village of Pommath, called Formazza by the Italian population, which is situated in a charming valley. Here, for the first time in my life, I had to eat roast marmot. After having paid my guide, and sent him on his homeward journey, I started alone on the following morning on my further descent of the valley, although I had only partially recovered from my fatigue, owing to lack of sleep. It was not until the November of this year, when the whole of Switzerland was thrown into a state of consternation by the news that the Grimsel inn had been set fire to by the host himself, who hoped by this means to obtain the renewal of the lease from the authorities, that I learned my life had been in danger under the guidance of this man. As soon as his crime was discovered, the host drowned himself in the little lake, on the borders of which the inn is situated. The serving-man, however, whom he had bribed to arrange the fire, was caught and punished. I knew by the name that he was the same man that the worthy innkeeper had given me as companion on my solitary journey across the glacier pass, and I heard at the same time that two travellers from Frankfort had perished on the same pass a short time before my own journey. I consequently realised that I had in a really remarkable manner escaped a fatal danger which had threatened me.

I shall never forget my impressions of my journey through the continually descending valley. I was particularly astonished at the southern vegetation which suddenly spreads out before one on climbing down from a steep and narrow rocky pass by which the Tosa is confined. I arrived at Domodossola in the afternoon in a blaze of sunshine, and I was reminded here of a charming comedy by an author whose name I have forgotten, which I had once seen performed with a refinement worthy of Platen, and to which my attention had been drawn by Eduard Devrient in Dresden. The scene of the play was laid in Domodossola, and described exactly the impressions I myself received on coming down from the Northern Alps into Italy, which suddenly burst upon one's gaze. I shall also never forget my first simple, but extremely well-served, Italian dinner. Although I was too tired to walk any further that day, I was very impatient to get to the borders of Lake Maggiore, and I accordingly arranged to drive in a one-horse chaise, which was to take me on the same evening as far as Baveno. I felt so contented while bowling along in my little vehicle that I reproached myself for want of consideration in having rudely declined the offer of company which an officer passing through the Vetturino made me by means of the driver. I admired the daintiness of the house decorations and the pleasant faces of the people in the pretty villages I passed through. A young mother, strolling along and singing as she spun the flax, with her baby in her arms, also made a never-to-be-forgotten impression on me. Soon after sunset I caught sight of the Borromean Islands rising gracefully out of Lake Maggiore, and again I could not sleep for excitement at the thought of what I might see on the following day. The next morning the visit to the islands themselves delighted me so much that I could not understand how I had managed to come upon anything so charming, and wondered what would result from it. After stopping only one day, I left the place with the feeling that I had now to flee from something to which I did not belong, and went round Lake Maggiore, up past Socarno, to Bellinzona, where I was once again on Swiss soil; from there I proceeded to Lugano, intending, if I followed out my original plan of travel, to stay there some time. But I soon suffered from the intense heat; even bathing in the sun-scorched lake was not refreshing. Apart from the dirty furniture, which included the Denksopha ('thinking sofa') from the Clouds by Aristophanes, I was sumptuously lodged in a palatial building, which in the winter served as the government house of the canton of Tessin, but in the summer was used as a hotel. However, I soon fell again into the condition that had troubled me so long, and prevented me from taking any rest, owing to my extreme nervous strain and excitement, whenever I felt disposed to idle pleasantly. I had taken a good many books with me, and proposed to entertain myself with Byron. Unfortunately it required a great effort on my part to take any pleasure in his works, and the difficulty of doing so increased when I began to read his Don Juan. After a few days' time I began to wonder why I had come, and what I wanted to do here, when suddenly Herwegh wrote saying that he and several friends intended to join me at this place. A mysterious instinct made me telegraph to my wife to come also. She obeyed my call with surprising alacrity, and arrived unexpectedly in the middle of the night, after travelling by post-chaise across the St. Gotthard Pass. She was so fatigued that she at once fell into a sound sleep on the Denksopha, from which the fiercest storm that I ever remember failed to awaken her. On the following day my Zurich friends arrived.

Herwegh's chief companion was Dr. Francois Wille. I had learned to know him some time before at Herwegh's house: his chief characteristics were a face much scarred in students' duels, and a great tendency to witty and outspoken remarks. He had recently been staying near Meilen on the Lake of Zurich, and he often asked me to visit him there with Herwegh. Here we saw something of the habits and customs of a Hamburg household, which was kept up in a fairly prosperous style by his wife, the daughter of Herr Sloman, a wealthy shipowner. Although in reality he remained a student all his life, he had made himself a position and formed a large circle of acquaintances by editing a Hamburg political newspaper. He was a brilliant conversationalist, and was considered good company. He seemed to have taken up with Herwegh with the object of overcoming the latter's antipathy to Alpine climbing, and his consequent reluctance to undertake it. He himself had made preparations to walk over the Gotthard Pass with a Professor Eichelberger, and this had made Herwegh furious, as he declared that walking tours were only permissible where it was impossible to drive, and not on these broad highways. After making an excursion into the neighbourhood of Lugano, during which I got heartily sick of the childish sound of the church bells, so common in Italy, I persuaded my friends to go with me to the Borromean Islands, which I was longing to see again. During the steamer trip on Lake Maggiore, we met a delicate-looking man with a long cavalry moustache, whom in private was humourously dubbed General Haynau, and the distrust with which we affected to treat him was a source of some amusement to us.

We soon found that he was an extremely good-natured Hanoverian nobleman, who had been travelling about Italy for some time for pleasure, and who was able to give us very useful information concerning intercourse with the Italians. His advice was of great service when we were visiting the Borromean Islands, where my acquaintances parted from my wife and myself to travel back by the nearest route, whereas we intended proceeding further across the Simplon and through Le Valais to Chamounix.

From the fatigue my tour had so far occasioned me, I felt that it would be some time before I started on a similar one again. I was therefore eager to see what was best worth seeing in Switzerland as thoroughly as possible now that I had the chance. Moreover, I was just then, and indeed had been for some time, in that impressionable humour from which I might anticipate important results to myself from novel scenery, and I did not like to miss Mont Blanc. A view of it was attended with great difficulties, amongst which may be mentioned our arrival by night at Martigny, where, owing to the crowded state of the hotels, we were everywhere refused accommodation, and it was only on account of a little intrigue between a postillion and a maidservant that we found clandestine shelter for the night in a private house from which the owners were absent.

We dutifully visited the so-called Mer de Glace in the Val de Chamounix and the Flegere, from which I obtained a most impressive view of Mont Blanc. However, my imagination was less busied with the ascent of that peak than with the spectacle I beheld when crossing the Col des Geants, as the great elevation that we attained did not appeal to me so much as the unbroken and sublime wildness of the latter. For some time I cherished the intention of undertaking just one more venture of the kind. While descending the Flegere, Minna had a fall and sprained her ankle; the consequence of this was so painful as to deter us from any further adventures. We therefore saw ourselves forced to hasten on our journey home via Geneva. But even from this more important and grander expedition, and almost the only one I had ever undertaken purely for recreation, I returned with a strangely unsatisfied feeling, and I could not resist the longing for something decisive in the distance, that would give a fresh direction to my life.

On reaching home I found announcements of a new and quite different turn in my destiny. These consisted of inquiries and commissions from various German theatres anxious to produce Tannhauser. The first to apply was the Schwerin Court Theatre. Rockel's youngest sister, who afterwards married the actor Moritz (whom I had known from my earliest youth), had now come to Germany as a youthful singer from England, where she had been educated. She had given such an enthusiastic account of the impression produced upon her by Tannhauser at Weimar, to an official at the theatre there named Stocks, who held the position of treasurer, that he had studied the opera most assiduously, and had now induced the management to undertake to produce it. The theatres at Breslau, Prague, and Wiesbaden soon followed; at the last of these my old friend Louis Schindelmeisser was acting as conductor. In a short time other theatres followed suit; but I was most astonished when the Berlin Court Theatre made inquiries through its new manager, Herr von Hulsen. From this last incident I felt justified in assuming that the Crown Princess of Prussia, who had always had a friendly feeling towards me, fostered by my faithful friend Alwine Frommann, had again been intensely interested by the performance of Tannhauser at Weimar, and had given the impetus to these unexpected developments.

Whilst I was rejoicing over commissions from the smaller theatres, those of the largest German stage were a source of anxiety. I knew that at the former there were zealous conductors, devoted to me, who had certainly been roused by the desire of having the opera performed; in Berlin, on the other hand, matters were quite different. The only other conductor besides Taubert, whom I had known previously as a man devoid of talent, and at the same time very conceited, was Heinrich Dorn, of whom I retained most unpleasant recollections from my earliest years and from our joint stay in Riga. I felt little drawn towards either of these, nor did I perceive any possibility of undertaking the direction of my own work; and from my knowledge of their capabilities as well as of their ill-will, I had every reason to question any successful rendering of my opera under their conductorship. Being an exile, I was unable to go to Berlin in person in order to supervise my work, so I immediately begged Listz's permission to nominate him as my representative and alter ego, to which he willingly agreed. When I afterwards made Liszt's appointment one of my conditions, objection was raised on the part of the general manager at Berlin on the score that the nomination of a Weimar conductor would be regarded as a gross insult to the Prussian court conductors, and I must consequently desist from demanding it. Thereupon prolonged negotiations ensued with a view to compromising the matter, which resulted in the production of Tannhauser at Berlin being considerably delayed.

However, while Tannhauser was now rapidly spreading to the middle-class German theatres, I became a prey to great uneasiness as to the quality of these performances, and could never get a very clear idea of them. As my presence was prohibited everywhere, I had recourse to a very detailed pamphlet which was to serve as a guide to the production of my work, and convey a correct idea of my purpose. I had this somewhat voluminous work printed at my own expense and tastefully bound, and to every theatre that had given an order for the operatic score I sent a number of copies of it, with the understanding that they were to be given to the conductor, stage manager, and principal performers for perusal and guidance. But from that time I have never heard of a single person who had either read this pamphlet or taken any notice of it. In the year 1864, when all my own copies had been exhausted, owing to my painstaking distribution of them, I found to my great delight, among the theatrical archives, several copies that had been sent to the Munich Court Theatre, quite intact and uncut. I was therefore in the agreeable position of being able to procure copies of the missing pamphlet for the King of Bavaria, who wished to see it, as well as for myself and some friends.

It was a singular coincidence that the news of the diffusion of my opera through the German theatres should synchronise with my resolve to compose a work in the conception of which I had been so decidedly influenced by the necessity of being absolutely indifferent to our own theatres; yet this unexpected turn of events in no wise affected my treatment of my design. On the contrary, by keeping to my plan, I gained confidence and let things take their own course, without attempting in any way to promote the performances of my operas. I just let people do as they liked, and looked on surprised, while continual accounts reached my ears of remarkable successes; none of them, however, induced me to alter my verdict on our theatres in general or on the opera in particular. I remained unshaken in my resolve to produce my Nibelungen dramas just as though the present operatic stage did not exist, since the ideal theatre of my dreams must of necessity come sooner or later. I therefore composed the libretto of the Rheingold in the October and November of that year, and with that I brought the whole cycle of the Nibelungen myth as I had evolved it to a conclusion. At the same time I was rewriting Junger Siegfried and Siegfrieds Tod, especially the latter, in such a way as to bring them into proper relation with the whole; and by so doing, important amplifications were made in Siegfrieds Tod which were in harmony with the now recognised and obvious purpose of the whole work. I was accordingly obliged to find for this last piece a new title suited to the part it plays in the complete cycle. I entitled it Gotterdammerung, and I changed the name Junger Siegfried to Siegfried, as it no longer dealt with an isolated episode in the life of the hero, but had assumed its proper place among the other prominent figures in the framework of the whole. The prospect of having to leave this lengthy poem for some time entirely unknown to those whom I might expect to be interested in it was a source of great grief to me. As the theatres now and then surprised me by sending me the usual royalties on Tannhauser, I devoted a part of my profits to having a number of copies of my poem neatly printed for my own use. I arranged that only fifty copies of this edition de luxe should be struck off. But a great sorrow overtook me before I had completed this agreeable task. It is true, I met on all sides with indications of sympathetic interest in the completion of my great lyric work, although most of my acquaintances regarded the whole thing as a chimera, or possibly a bold caprice. The only one who entered into it with any heartiness or real enthusiasm was Herwegh, with whom I frequently discussed it, and to whom I generally read aloud such portions as were completed. Sulzer was much annoyed at the remodelling of Siegfrieds Tod, as he regarded it as a fine and original work, and thought it would be deprived of that quality if I decided to alter it to any extent. He therefore begged me to let him have the manuscript of the earlier version to keep as a remembrance; otherwise it would have been entirely lost. In order to get an idea of the effect of the whole poem when rendered in complete sequence, I decided, only a few days after the work was completed in the middle of December, to pay a short visit to the Wille family at their country seat, so as to read it aloud to the little company there. Besides Herwegh, who accompanied me, the party there consisted of Frau Wille and her sister, Frau von Bissing. I had often entertained these ladies with music in my own peculiar fashion during my pleasant visits to Mariafeld, about two hours' walk from Zurich. In them I had secured a devoted and enthusiastic audience, somewhat to Herr Wille's annoyance, as he often admitted that he had a horror of music; nevertheless, he ended in his jovial way by taking the matter good humouredly.