Chapter VI: Act III: , Scene 2 (page 291) (2)

You make me blush! without a blush I can scarcely read what you are going to tell the world of me; and now you want me to interpret it. Only if you earnestly desire it will I grant your prayer, a prayer which flatters me too much to call it a "prayer." Would that I could be of use to you! My last letter must have appeared dissonant to you. I do not know what moved me to speak bitterly of newspaper notices. One reason, however, I may tell you: many things have determined me at last to speak in a literary way once more. I am occupied with a work the title of which is to be "The Essence of Opera." In it I mean to speak clearly and definitely about opera as a type of art, and to indicate as plainly as possible what should be done to it in order to develop the hidden germs to full bloom. I should have liked to dedicate this book to you, because in it I announce the salvation and justification of the musician qua musician. I should do this if I did not think it better not to drag you into this address to the musical world. In that manner I shall preserve greater liberty to you. The book therefore shall be a surprise to you. As in this book I intend to explain my view of the essence of the musical drama, I can find nothing more annoying than to see the most contradictory opinions of me spread amongst the public by witty litterateurs. The world must take me for a muddle-headed and false priest if I preach the drama in words while it is said of my works that musical confusion and noise reign in them. But enough of this.

Your letter to B.'s mother was another noble thing of yours. Best thanks.

I once more go to battle with my deadly enemy the winter. I must think a great deal of the preservation of my health, and before the spring I cannot work at "Siegfried" with a will, but in the summer it shall be ready. Let me soon hear something of your works.

One word more in confidence: at the end of this month I shall have spent all my money; Zigesar has sent me less than you made me hope. Towards the new year I again hope for some assistance from Frau R. in D., but that also is uncertain. Can you--but how shall I express it? If you have to do something beneath your or my dignity, you cannot; that I know. The rest will be all right. God bless you. I think the devil will not get hold of me just yet.

Farewell, best of men. Send me your scores. Farewell, and remain kind to me.

Your

RICHARD WAGNER

ZURICH, October 8th, 1850

48.

(TO THE PRINCESS WITTGENSTEIN.)

HIGHLY ESTEEMED MADAM,

Your kind letter has, as you may imagine, made a great impression. I see, to my genuine joy, that I may count you amongst the small number of the friends who by the weight of their sympathy richly compensate me for the absence of popular acclamation. That you have remained faithful to me is more important to me than perhaps you know yourself. Accept my cordial thanks for the friendship you have preserved for me.

You ask me about my "Wiland." I have more designs than I have the power to execute. Therefore I want a helper, yea more than a helper, an artistic bosom friend, who works in the same spirit, and, I hope, better than I could work myself. I request you to persuade Liszt to undertake the musical execution of "Wiland" in my stead. The poem in its present condition, such as herewith I send it to you, is the result of sorrowful and deeply emotional enthusiasm, which has stirred me up to imaginings on which as an artist I may, I think, congratulate myself. But it takes me back to a time to which I do not want to be taken back. I cannot finish the poem now, either in words or music. If later on I could gain sufficient repose for the purpose, I should be afraid of having cooled towards it. In consequence I have lately become accustomed to the thought of giving up the poem altogether.

But if this "Wiland," when Liszt makes its first acquaintance, should inspire him as I was once inspired by it, I ask him to consider it as his property. The design is quite complete; all that remains to be done is simple versification, which every fairly skilful writer of verse might execute: Liszt will easily find one. In the more important places, I have written the verses myself. To do more is at present impossible to me; even the copying out gave me much trouble.

I hope, dear madam, you will not think my poem unworthy of your warm recommendation to the friend whom, as you tell me to my great joy, you will soon make happy by calling your own.

With sincere thanks for your kindness, and with cordial esteem, I remain, dear madam, Your obedient servant,

RICHARD WAGNER

ZURICH, October 8th, 1850

49.

DEAREST FRIEND,

I really do not know how to thank you; for the only equivalent I could offer you would evidently be to send you a masterpiece in exchange; and this kind of return is difficult to make even with the best intention in the world. Allow me to look upon your manuscript of Wiland as a sacred trust, which I shall hold at your disposal till the time you reclaim it. My very numerous engagements will prevent me from occupying myself with it for a year or eighteen months; and if after that time you still think that I am capable of undertaking the composition, we can easily arrange the matter either verbally or by letter. Today I send you by post a fair copy of my article on "Lohengrin." As this is the only one I possess, I must ask you kindly to return it to me at Eilsen (Buckeburg), where I shall spend the months of November and December. I foresee the difficulties I shall have to encounter in publishing through the Paris press an article so extensive and so sincerely in praise of a German opera by a German composer, in whose success no one has an interest, rather the reverse. Nevertheless I do not absolutely despair of having it inserted some day in some review, and consequently want the manuscript.

If in the meantime you think my article worthy of publication in Germany, I repeat the request already made that you undertake to translate it freely, and improve it by completing it.

In the quotations it would naturally be better to reproduce exactly the verses of your poem, and perhaps one might make the comprehension of your work easier by adding two plates of music type showing the five or six principal themes,

[Figure: musical example]

and two or three details of orchestration.

However, as regards both the translation and the publication, I attach value to them only in so far as you approve; for this article has been written solely with the intention of serving, as far as in me lay, the great and beautiful cause of art with the French public, such as it is in 1850. If you think that I have not succeeded, I ask you not to hesitate for a moment in telling me so frankly. In this, any more than in other things, you will not find in me any stupid amour-propre, but only the very modest and sincere desire to suit my words and actions to my sentiments. I have just received a letter from Seghers, director of the Union Musicale, Paris, who tells me that your Tannhauser overture will be performed at the first concert of the Society (November 24th). You may rely upon his zeal and intelligence in preparing a good performance.

By the way, have you heard of an intended performance of "Lohengrin" at Dresden? I do not know how far this Dresden performance would benefit you in actual circumstances, while you are forcibly prevented from looking after the rehearsals, etc.

Uhlig has probably told you that Tichatschek will study the part of Lohengrin with him. Soon after my return Herr von Zigesar intends to give the fourth performance, and for the fifth we shall have Tichatschek.

I am really much obliged to you for taking interest in my overtures, and must ask you to forgive me for not having thanked you before; but the fact is, the greater part of my time is occupied with other things than me and my works.

Unfortunately I possess only a single copy of "Prometheus" and "Tasso," and of that I cannot dispose, as it belongs to the theatre. If, as I am in hopes, next summer I can at last make a trip to the Rhine, we must meet somewhere, possibly at Basle, and then I shall unpack my sac de nuit, full of obscure scores.

In the meantime I am very happy to learn that you have not lost hold of your "Siegfried," which is sure to be una gran bella cosa, as the Italians say. I thank you for it in advance.

The day after tomorrow I start for Eilsen, where please address me until further notice. Do not fail to return the manuscript of my "Lohengrin" article, of which, if necessary, you might have a copy made at Zurich. I shall want it between the 5th and l0th of November.

Once more be thanked cordially for your "Wiland," and rest assured that, with or without the welded wings of genius, I always remain

Your truly devoted friend,

F. LISZT

WEYMAR, October 18th, 1850

50.

MY DEAREST FRIEND,

Do not be angry with me because I am so late in answering your last letter. I had to see to the return of the manuscript, entrusted to me, and this I was unable to do sooner. Your letter of October 22nd, together with the manuscript, did not reach me here till November 8th, via Berlin. As you wanted your manuscript back by November l0th, I must assume that some delay had taken place which you had not foreseen. I return herewith the French original, and in a few days I shall send the translation, which by then will have received its proper form.

Dear friend, your article has impressed me in a grand, elevating, stirring manner. That I have succeeded in thus acting upon you by my artistic work, that you are inclined to devote no small part of your extraordinary gift to opening, not only an external, but an internal, path to my movement--this fills me with the deepest and most joyous emotion. I feel as if in us two men had met who had proceeded from the two most distant points in order to penetrate to the core of art, and who now, in the joy of their discovery, fraternally clasped hands. This joy alone enables me to accept your admiring exclamations without bashfulness; for I feel that when you praise my gifts and my achievements you express thereby only your joy at having met me at the core of art. Be thanked for the pleasure you have thus given me.

I shall say something more about the translation when I send it to you, which, as I mentioned before, will be in a few days.

I have also read your feuilleton in the Journal des Debats. Your restless energy in serving me I can only compare with the spirit in which you do it. Indeed, dear, good Liszt, I owe it to you that soon I shall be able once more to be entirely an artist. I look upon this final resumption of my artistic plans to which I now shall turn as one of the most decisive moments in my life. Between the musical execution of my "Lohengrin" and that of my "Siegfried" there lies for me a stormy, but, I feel convinced, a fruitful, world. I had to abandon the entire life lying behind me, to bring into full consciousness everything dawning in it, to conquer any rising reflection by its own means--that is, by the most thorough entering into its subject--in order to throw myself once more with clear and cheerful consciousness into the beautiful unconsciousness of artistic creation. The winter I shall spend in completing this abandonment. I want to enter a new world unburdened, free, and happy, bringing nothing with me but a glad artistic conscience. My work on "The Essence of Opera," the last fruit of my contemplation, takes larger dimensions than I at first expected. If I show that music, the woman, becomes co- parent with the poet, the man, I must take care that this splendid woman is not given over to the first comer who desires her, but only to the man who longs for woman with true, irresistible love. The necessity of this union with the full power of music desired by the poet himself I was unable to prove by abstract aesthetic definitions alone, which generally are not understood and remain without effect. I had to derive that necessity with tangible distinctness from the state of modern dramatic poetry, and I hope I shall fully succeed. When I have finished this book, I intend, provided I can find a publisher, to bring out my three romantic opera-poems, with a preface introducing them and explaining their genesis. After that, to clear off all remains, I should collect the best of my Paris writings of ten years ago (including my Beethoven novelette) in a perhaps not unamusing volume; in it those who take an interest in me might study the beginning of my movement. In this manner I should get to the spring pleasantly and in an easy frame of mind, and should then work at my "Siegfried" without interruption and complete it. Give your blessing to this.

I recently had a letter from a friend in Paris who witnessed several rehearsals of the "Tannhauser" overture under Seghers's direction. He has completely satisfied me that the performance is carefully prepared, and that the understanding of the public will be aided as much as possible by a programme taken from your article upon my opera. In spite of this, I am very doubtful whether in the most favourable case I shall derive any benefit from it.

My request to you to accept my poem of "Wiland," you apparently have not quite understood. It is a sincere wish and request. Your present and imminent occupations might delay the fulfillment of my wish, which, however, would become impossible only if my sketch did not inspire you with the desire to complete it. In that case please be frank with me. If you intend, however late, to finish "Wiland," I will undertake its proper versification.

For the present, dearest friend, I must take leave of you; I do so with cordial wishes for your well-being. Commend me to the Princess in the best way you can, so that she also may keep me in friendly remembrance.

Farewell, and be greeted from the full heart of Your grateful friend,

RICHARD WAGNER

ZURICH, November 25th, 1850

51.

DEAREST FRIEND,

Quite against my custom, I have just spent about ten days in bed fighting with a violent fever. As it is a very long time since I heard from you, I begin to be somewhat anxious as to the fate of my "Lohengrin" article, which, before leaving Weymar, I gave to Raff, asking him to send it to you as soon as he had read it. In case you have received it, write me a few lines to reassure me with regard to it, and at the same time tell me frankly, and without compliments of any kind, whether the analysis has pleased or displeased you, whether you think it worth publishing, and what I had better do with it.

My whole correspondence has fallen into the most lamentable arrears through the sad condition I have lived in for more than a fortnight. I owe an answer especially to Herr Ritter, who has made me a most courteous offer, the value of which I quite appreciate. Be good enough, dear friend, to thank him in my name (before I can do so myself) for his friendly conduct, for which I shall prove myself grateful, as far as lies in my power, on all occasions.

How far have you got with "Siegfried"? Have you continued your volume about the opera, and when will it appear?

Send me soon one of those long letters which you write so beautifully. It will serve excellently well to relieve of his grief and sorrow.

Your affectionate and devoted friend,

F. LISZT

EILSEN, November 26th, 1850

Address Eilsen (Buckeburg) till December 30th. In the first week of the new year I shall be back in Weymar.

52.

MY DEAR LISZT,

At last I am able to send you the translation of your article. As you probably cannot understand why it has been delayed so long, and may perhaps even suspect that I was indifferent to your more than kind intention, I must tell you first of all how it has happened.

I was so moved by your work that I at once felt one thing distinctly, viz., that in something so encouraging and deeply touching I could not myself collaborate. I felt as shy and bashful as possible when I thought of writing with my own hand the praise which you dictated to me in your extremely brilliant article. I hesitated and wavered, and did not know how to begin. Then my young friend Ritter came to my aid, and asked me to let him do the translation. I consented, and reserved to myself the right of revising it afterwards, so as to set forth less my praise than the animation of your original style. R. and B. translated it between them, and I looked through it together with them. R. then went to work again, and the result of these careful endeavours I now lay before you, asking you to explain to yourself from these indications why the whole thing has been delayed so long. Of the actual version I can assure you with a good conscience that, according to my firm conviction, it is not unworthy of your original, which it renders adequately in the sense that one does not suspect a laborious translation, but might let it pass without hesitation for the German original of a not unaccomplished German author. I can advise you, therefore, without scruple to give your signature to this version, and leave it to you whether you will announce it to be a translation. In all you have said about the work and its author, the version contains nothing but an absolutely faithful translation of the original, every conceivable care having been taken to render its very brilliant, novel, and thoroughly artistic language as adequately as its individual flavour and fullness would allow. In places, however, where you indicate the subject matter and the material aspect of situations and scenes, the translator has made bold to use a little more liberty. He considered that in these respects the German original of the poem was nearer to him than to the author of the French description. The situations are therefore treated a little more exhaustively, and the German text has been immediately drawn upon, as was indeed your own wish. Perhaps the scenes have now and then been given a little too fully; but as in print the verses will appear in smaller type, I hope that this also will upon the whole add to the comprehension of the dramatic situations. Therefore I live in good hope that you will not be dissatisfied with the work; and if you still intend to give me an almost excessive proof of your love of my artistic being and to supply my friends with an important means of realizing what they love in my art, I shall feel highly honoured and pleased by the publication of this version, which I think had best take the form of an independent pamphlet, especially because in that way the important musical supplement suggested by you would be possible.

If I were to tell you what I felt while reading this article repeatedly and most carefully, I should scarcely be able to find words. Let this suffice: I feel more than fully rewarded for my efforts, my sacrifices, and my artistic struggles by recognizing the impression I have made upon you of all others. To be so fully understood was my only longing, and to have been understood is the most blissful satisfaction of that longing.

Truly, dear friend, you have turned the little Weimar into a very focus of my fame. When I read the numerous, comprehensive, and often very brilliant articles about "Lohengrin" which now come from Weimar, and compare them with the jealous enmity with which, for example, the Dresden critics used constantly to attack me, working with sad consistency for the systematic confusion of the public, I look upon Weimar as a blessed asylum where at last I can breathe freely and ease my troubled heart. Thank Lobe very cordially in my name; his judgment has surprised and delighted me. Also tell Biedenfeld and the author of the article in the "Frankfort Conversationsblatt" that I still hope to thank them by endeavouring with all my power to justify by new works their great opinion of me. Greet them kindly, also Raff, and Genast, and Zigesar, without forgetting the brave artists to whom I owe so much gratitude.

I am deep in my work on "Opera and Drama;" it is, as I told you, of the greatest importance to me, and I hope it will not be without importance to others. But it will be a great, stout volume. Ah, would it were spring, and that I might be once more a full-blooded, poetizing musician! I am not very well off; care, care, nothing but care, is the funereal chant which I have to sing to every young day.

You also have been in a very pitiable plight. Your serious indisposition and the depressed mood it left behind were strange things to you, and have affected me very much. For my comfort I assume that your illness is quite gone; but was I not right, dear friend, when I warned you and expressed to you my anxiety for your health, because I knew what unheard-of exertions you had made for my sake? Please set my fear at rest soon and comfort me thereby.

Finally, I ask you to transmit my sincerest and most cordial respects to your faithful, highly esteemed friend. May you two extraordinary people be happy! Farewell, and accept my heartfelt thanks for your friendship, which is now the richest source of my joy.

Your

R. W.

ZURICH, December 24th, 1850

53.

DEAR FRIEND,

I have just received a letter from Brussels, sent by desire of the management of the Royal Theatre there. In consequence of the brilliant success--so they write--which my opera "Lohengrin" has recently obtained, and seeing that the subject of the opera belongs to Belgian history, they contemplate translating the work into good French, if that should be possible, and producing it forthwith at the Royal Theatre. They therefore want at once a copy of the score and of the libretto.

Dear friend, I place the whole matter at your feet. If you wish that it should come to something, and if you think that it may come to something, then acquire the further merit of taking this thing in hand, which, in your position as protector and generally speaking, you are infinitely more capable of doing than I. You are sure to know Brussels. If you will undertake this, I should ask you before all to see about a score. Luttichau claims his copy as his property, and Zigesar was obliged to have another copy made. Seeing that Luttichau, as I hear positively from Dresden, does not intend to give the opera at least just yet, one might hope that he would give back the score for a time, if you were to ask him. Of course _I_ cannot apply to him.

To send my own original score so far away, I should not like at all; it is all the little property I have. To have a copy made here would exceed my limited means, and would also take too long, as they are pressing at Brussels. A libretto I shall send them direct from here.

See what you can and will do, dear friend. If it should succeed, and some good come of it, I should like to owe it entirely to you, as you have altogether assumed the paternal responsibility for this opera with the care attaching to it. I shall ask them at Brussels to apply to you, as you have full power to act in the matter. Farewell for today; a thousand blessings in return for your love

from your sincerely grateful

RICHARD WAGNER

ZURICH, December 27th, 1850

I have to reply to "M. Charles Hanssens jeune, chef d'orchestre et directeur du Theatre Royal a Bruxelles."

54.

DEAR FRIEND,

I have just received your letter addressed Weymar, and hasten to place my humble services gladly at your disposal as regards the score of "Lohengrin" and the correspondence with Herr von Luttichau. Probably his Excellency will not be very willing to lend the work a second time; but I hope for a favourable result all the same.

In your place (forgive my friendly impertinence) I should certainly accept the Brussels offer, but with the one condition-- conditio sine qua non--that they let you revise the translation and attend the general rehearsals. The performance and the success will have quite a different chance if you go to Brussels, and I am afraid that in your absence your "Lohengrin" might be a little compromised. The actual state of the Brussels theatre I do not know; some years ago it was somewhat in a muddle and very little adapted to serious work. Some time will in any case be required for the translation and rehearsals, but I advise you to make the condition of your presence at once and firmly. The traveling expenses are so small that the management can easily bear them; and if you agree, I shall answer the gentlemen in that sense as soon as they write to me.

Herr von Zigesar wrote to me urgently some days ago not to delay my return to Weymar any longer. Unfortunately I shall be detained here for about another fortnight by the serious illness of Princess M. About January 20th "Tannhauser" and "Lohengrin" will again be given, and towards the end of the season Tichatschek will probably be there and take the part.

By repeated desire, I have determined to publish my article on the Herder festival, together with the analysis of "Lohengrin," in a separate form. If you want to add some further remarks on it, let it be soon, so that I may be able to make use of them.

I enclose a few lines to Ritter. Kindly excuse me to him, and allow me to restore to you the possession and absolute disposal of your property after my return to Weymar. Great as is the temptation to weld at your "Wiland," I must abide by my resolution never to write a German opera.

I feel no vocation for it, and I lack the necessary patience to bother myself with German theatrical affairs. Altogether I think it more appropriate and easier to risk my first dramatic work on the Italian stage (which probably may happen in the spring of next year--1852--in Paris or London), and to stick there if I should succeed.

Germany is your property, and you her glory. Complete your "Siegfried" soon. Of power and genius you have plenty; only do not lose patience. Perhaps we shall soon see you again in Germany; then you will reap what you have so nobly sown.

Your sincerely devoted

F. LISZT

EILSEN, January 3rd, 1851

Have you made much progress with your book on the opera? I am very curious to see this work.

55.

DEAREST FRIEND,

Have you all forgotten me? I have felt so lonely of late that I am often afraid. Should you be angry with me about anything? perhaps about the absurd misunderstanding with B.? He wrote to me that he had heard that I was annoyed at his great article on "Lohengrin." I was quite confounded, and thought that some misapprehension of an expression in one of my letters might have led you and B. after you to a completely erroneous opinion about me. Therefore I requested him to ask you in my name to let him explain to you the passage in my letter, because I was anxious, not only for his sake, but for yours, to dispel so ugly an error. Has any unpleasantness resulted from it?

From Brussels I have heard nothing. Could you give me some news, or are you angry that I have troubled you with this affair? Anyhow I have no illusions as to Brussels.

My very stout book is ready. Its title is "Oper und Drama." I have not yet a publisher; and as I must take care to get a little money for it, I am a little anxious about the matter.

Next month I shall devote to the edition of my three romantic opera-poems. A longish introduction will explain the origin of these poems and their position towards music.

At the beginning of spring I hope to commence the composition of "Siegfried," and to continue the work without interruption.

As to the rest, my pleasure in life is not great. All is quiet and lonely around me, and I frequently feel as if I were dead and forgotten.

But how are you? Have you quite recovered? I frequently dream of Weimar and of you--wild, confused things.

Let us say nothing more about "Wiland"; I am heartily sorry that--you are right.

Have you still courage? Are you in good spirits? Do you really still care to live amongst the majestic people of the Philistines who rule the world nowadays? Ah! as long as we possess fancy we can pull along somehow.

My poor dear little parrot is also dead! He was my spiritus familiaris, the good brownie of my house.

Farewell, and forgive me.

Always and wholly thine,

RICHARD WAGNER.

ENGE, ZURICH, February 18th, 1851.

56.

DEAR WAGNER,

By the date of these lines you will sufficiently see in what grief and sorrow I have been living for months. I was, it is true, in Weymar for three weeks, but immediately after the birthday of the Grand Duchess (February 16th) I returned here, where unfortunately I found the Princess still very ailing and in bed. On the 7th I have to be back in Weymar to conduct Raff's opera; the work is too important for Raff's career for me to neglect it. But the thought of that journey, while my whole soul, my whole faith, and all my love must remain here at the sick-bed, is terrible to me. Let us talk of you.

I could never think of forgetting you, and, if possible, still less of being angry with you. Forgive me that I did not sooner thank you cordially for B. and R.'s German version of my "Lohengrin" article. Your letter especially has pleased and flattered me highly. That you are satisfied with my conception of that splendid masterpiece of heart and soul "Lohengrin" is my exceeding rich reward. Immediately after my return to Weymar I shall have it printed (perhaps the "Illustrirte Zeitung" will publish it in one number), and shall send you the proof, which I must ask you to correct and return straight to Weber as quickly as possible.

R. can carefully read the article in one day, and send it to Leipzig by return of post.

As to the French original, I shall probably publish it as a separate pamphlet, together with my article on the Herder festival, and without the alterations and omissions made by Janin in the "Journal des Debats" of October 22nd. The title will be "Fetes de Herder et Goethe a Weymar, 25 et 28 Aout, 1850."

From Brussels not a line! Without repudiating altogether the musical soil of Belgium, barren though hitherto it has been, with the exception of some individual talents, I can only advise you again to protest absolutely against a performance of your works under any direction but your own. The first condition you should impose on the management of the theatre is that they call you to Brussels. In that sense I shall answer in case they apply to me.

About B. I could tell you many things in a half-and-half way, but you had better think them out for yourself. Let me speak French, and don't repeat it.

B. is a nobleman who has spent long years in becoming a literary good-for-nothing. If he had possessed or acquired the necessary talent, he would in that direction have made himself a position as a nobleman. As it is, he is an amphibious creature, living in bogs on one side and getting dry in his water on the other. He has shown me the letter you wrote to him, but with this kind of people little is gained by explanation. They are not wanting in the good where the better would be required, and it is generally more advisable to be cautious with them than to complain, or correct their opinions. I think you might have been satisfied with thanking him simply for his article about "Lohengrin," however awkward and badly argued certain passages may have been. Apropos of this, have you read the articles on "Lohengrin" in the "Frankfort Conversationsblatt"? They are certainly better meant and better written; and as you have thanked B., you might, I think, appropriately write a few lines to the author, who is a very decent man and one of your sincere and enthusiastic proselytes. Enclose the lines to him in the first letter you address to me at Weymar, and I will forward them to him at once.

"Wiland" is still imprisoned at Weymar, together with my manuscripts and scores. As soon as my valet returns I shall send you "Wiland" at once, but I am not going to call in a common, prosaic locksmith to set him at liberty.

I am looking forward to your book. Perhaps I may try on this occasion to comprehend your ideas a little better, which in your book "Kunst und Revolution" I could not manage very well, and in that case I shall cook a French sauce to it.

Brockhaus published a few days ago my pamphlet on the Goethe foundation ("De la Fondation Goethe a Weymar"). I shall send it you on the first opportunity. Of my articles on Chopin in the "France Musicale," which I am likely to spin out through fifteen numbers, you have probably not heard at Zurich. B. read the original at Weymar. Farewell, be happier than I, and write soon to

Your truly devoted friend,

F. LISZT.

EILSEN, March 1st, 1851.

57.

BEST OF FRIENDS,

Cordial thanks for your letter, which was a sure sign of your continued interest in me. Your domestic troubles have alarmed me very much; be assured of my genuine sympathy with any grief that may befall you. I hope this letter will find you in an easier state of mind with regard to the health of your very dear friend. If only my wish could contribute to this! But necessity compels me to gain some certainty as to my own position through your means. Listen, and do not be angry.

The communication of your plans in my favour last summer roused in me a hope as to which I must now know whether I am to look for its fulfillment or to abandon it altogether. You told me that in case of the desired success of my "Lohengrin" you intended to make use of the presumably friendly disposition of the Grand Duchess, with a view to inducing her to allow me the necessary means of subsistence during the composition of my "Siegfried." Just at that time I had given up all thoughts of setting the opera to music, and had sent the poem of "Siegfried" to the printer in order to place it before the public in the form of an intention never carried out. Your communication changed my mind, as I acknowledged to you at the time in the most joyous and grateful manner. I cancelled the order for printing the poem, and prepared myself for the composition instead. For the commencement of the work I fixed upon the coming spring, partly in order, first, to get rid of my always depressed winter humour, and partly to give you time for carrying out your kind intention without hurry. For the winter I chose a literary work, for which I had plenty of material, and which I took in hand at once, hoping that I might make something by it. This work, a book of four hundred to five hundred pages, small octavo, entitled "Oper und Drama," has been ready these six weeks; but as yet none of the publishers to whom I wrote about it has replied, and my expectations at least of gain from this work are therefore very small. During the whole of six months, after spending the honorarium for the production of "Lohengrin" at Weimar, I have lived entirely by the assistance of Frau R. in D., because latterly I have not been able to earn anything beyond a small fee for conducting two of Beethoven's symphonies at the miserable concerts here. I know that my Dresden friend has for the present exhausted herself, because the family is not wealthy, but has only just a sufficient income, which, moreover, owing to some awkward complications with Russia, is at present placed in jeopardy. I am therefore compelled to try and make money at any price, and should have to abandon a task like the composition of "Siegfried," which in a pecuniary sense is useless. If I were to have any inclination for a task undertaken for the sake of money, it would have to be so-called "aesthetic literature," and in order to get money for such literature I should have to spend all my time in writing for magazines at so much "per sheet." The thought is very humiliating.

If I am to undertake an important artistic task, my immediate future--say for the current year, at least--must be secured; otherwise I shall lack the necessary cheerfulness and collectedness. If I am to have peace of mind for devoting myself to artistic labour without interruption, I must, as I said before, be without anxiety for my immediate subsistence. Necessity, as the proverb says, breaks iron, and therefore I put this question to you once more simply, so as to be sure as to my position. I am aware that everything has turned out unfavourably for your plan of helping me. The Grand Duchess was ill, and could attend only the third performance of "Lohengrin;" soon afterwards you left Weimar, and therefore had no opportunity of preparing the Grand Duchess for your plan in a proper and dignified manner. All this I know, and therefore no blame attaches to you in the remotest degree. Only I must know now where I am. For that reason I pray you with all my heart to tell me plainly and definitely whether, as things are, I still may hope for something or not, so that I may make all my arrangements accordingly; uncertainty is the worst of tortures. One request I further make without hesitation. If you are compelled by the state of affairs to tell me that your plan cannot now be realized, and that therefore I must not hope for any further assistance in favour of the composition of my "Siegfried," then kindly see at least whether you cannot get me at once SOME money, were it only as much as my immediate difficulty requires, in order to gain me some time for settling to my altered plan. It is very sad that I have to trouble you with this ugly request.

But enough of this.

May Heaven grant that you will soon be relieved from your domestic troubles. I wish the Princess a quick and perfect recovery with all my heart.

Farewell, dear friend. Good luck and the best success to Herr Raff!

Farewell, and be happy.

Your sincerely devoted

RICHARD WAGNER.

ENGE BEI ZURICH, March 9th, 1851.

58.

DEAR FRIEND,

I passed the whole of March in such trouble and distress, that I could not write to you. Since April 4th I have been back here. "Lohengrin" was to be given on the 8th, but Beck's hoarseness compelled us to postpone the performance till next Saturday. In any case the opera will be given twice more during this season.

By today's post I send you my "Lohengrin" article, which in the first instance will appear in German in the "Illustrirte Zeitung." Be kind enough to read the proof quickly and to return it direct to Weber, Leipzig. It will probably be published in the next number. About the French edition I shall arrange soon afterwards; it will be the same size and type as my pamphlet on the Goethe foundation, of which also I send you a copy today. Brockhaus will be the publisher.

Have you received the hundred thalers? Your last letter has made me very sad, but I do not relinquish all hope of leading the somewhat difficult diplomatic transaction concerning your "Siegfried" to a successful issue. Perhaps I shall succeed in settling the matter by the middle of May. Tell me in round figures what sum you require, and (quite entre nous, for I must ask you specially to let nobody know) write me a full letter which I can show to Z. You must excuse me for troubling you with such things, and I am grieved, deeply grieved, that the matter cannot be brought more simply to a good result; but, in my opinion, it will be necessary for you to explain by letter your position as well as the plan of the work and the artistic hopes which may justly be founded upon it. I need not tell you that I do not want this for myself. You know me, and are aware that you can have implicit confidence in me.

Muller's letter I sent yesterday, after thinking from day to day that I should return. He will doubtless soon write to you, and you will find him a trustworthy, prudent friend, who genuinely esteems you.

Can you tell me, under the seal of the most absolute secrecy, whether the famous article on the Jews in music ("Das Judenthum in der Musik") in Brendel's paper is by you?

The Princess has remained in Eilsen, still confined to her bed; and I do not expect her till the end of this month. You may imagine how deeply her long illness has grieved me.

Write soon, and do not forget to correct the proofs of the "Illustrirte Zeitung" at once.

Your

F. LISZT.

April 9th, 1851. P.S.--The "Lohengrin" article must be signed thus: "From the French of F. Liszt." Request the printer's reader kindly not to omit this and to call the editor's special attention to it.

59.

DEAREST LISZT,

I did not write to you at once in order to write to you more at length and more calmly on a favourable day. Then came the number of the "Illustrirte Zeitung" of April 12th, and once more I read your printed article from beginning to end. It is difficult for me to describe the impression your work of friendship has made on me just at this time. I was once more cold and diffident, and looked with something like bitter irony on the thought of having to begin a new artistic labour. The artistic misery far and wide around me was so great, my mood so hopeless, that I felt inclined to laugh at myself when I thought, for example, of the composition of my "Siegfried;" and this mood I transferred to all my other works. Recently I glanced through my score of "Lohengrin;" it filled me absolutely with disgust, and my intermittent fits of laughter were not of a cheerful kind. Then you approached me once more, and moved, delighted, warmed, inspired me in such a manner that the bright tears welled forth, and that once more I knew no greater delight than that of being an artist and of creating works. I have no name for the effect you have produced upon me. Everywhere around me I see nothing but the most beautiful spring life, full of germs and blossoms, and together with it such voluptuous pain, such painfully intoxicating joy, such delight in being a man, in having a beating heart--although it feel nothing but sorrow--that I regret only to have to write all this to you.

And how strangely everything happens with you! Would I could describe my love for you! There is no torture, but, on the other hand, no joy, which does not vibrate in this love. One day jealousy, fear of what is strange to me in your particular nature, grieve me; I feel anxiety, trouble, yea doubt; and then again something breaks forth in me like a fire in a wood, and everything is devoured by this conflagration, which nothing but a stream of the most blissful tears can extinguish at last. You are a wonderful man, and wonderful is our love. If we had not loved, we might have terribly hated, one another. All that I wanted to write to you with well-balanced composure must now come out just as it happens to strike me at the moment. My "Siegfried" I shall begin at the commencement of May, happen what will. Perish all guarantee of my existence! I shall not starve. For my book I have at last a publisher, Avenarius, in Leipzig; he pays me one hundred thalers; it is very little, but I don't think I can get any more. Now and then you will put a groat by for me; and when my necessity grows breast-high, you will help me with as much as you may happen to have for a poor friend. Frau R. in D. will also do her part off and on, and in the winter I shall earn again a few louis d'or by conducting symphonies, so that I shall not go to the devil after all if only my wife will keep calm. So let us leave the Grand Duchess alone; I can and will not ask her for anything even in the most indirect manner. If she made me an offer of her own free will, it would touch and delight me, all the more coming from a princess, but this possibility, even if it never should happen, I must not turn into an impossibility by asking her for a proof of her kindness. Away with all business transactions as to this question! Up till now the sympathy of that princely lady has made so beautiful an impression upon me, that I do not wish to spoil it. Are we agreed? I think so.

You ask me about the "Judenthum." You must know that the article is by me. Why do you ask? Not from fear, but only to avoid that the Jews should drag this question into bare personality, I appear in a pseudonymous capacity. I felt a long-repressed hatred for this Jewry, and this hatred is as necessary to my nature as gall is to the blood. An opportunity arose when their damnable scribbling annoyed me most, and so I broke forth at last. It seems to have made a tremendous impression, and that pleases me, for I really wanted only to frighten them in this manner; that they will remain the masters is as certain as that not our princes, but the bankers and the Philistines, are nowadays our masters. Towards Meyerbeer my position is a peculiar one. I do not hate him, but he disgusts me beyond measure. This eternally amiable and pleasant man reminds me of the most turbid, not to say most vicious, period of my life, when he pretended to be my protector; that was a period of connections and back stairs when we are made fools of by our protectors, whom in our inmost heart we do not like. This is a relation of the most perfect dishonesty; neither party is sincere towards the other; one and the other assume the appearance of affection, and both make use of each other as long as their mutual interest requires it. For the intentional impotence of his politeness towards me I do not find fault with Meyerbeer; on the contrary, I am glad not to be his debtor as deeply as, for example, B. But it was quite time that I should free myself perfectly from this dishonest relation towards him. Externally there was not the least occasion for it, for even the experience that he was not sincere towards me would not have surprised me, neither did it give me a right to be angry, because at bottom I had to own that I had intentionally deceived myself about him. But from inner causes arose the necessity to relinquish all considerations of common prudence with regard to him. As an artist I cannot exist before myself and my friends, I cannot think or feel, without realizing and confessing my absolute antagonism to Meyerbeer, and to this I am driven with genuine desperation when I meet with the erroneous opinion even amongst my friends that I have anything in common with Meyerbeer. Before none of my friends I can appear in clear and definite form, with all that I desire and feel, unless I separate myself entirely from the nebulous outline in which many see me. This is an act necessary for the perfect birth of my matured nature; and if God wills, I hope to be of service to many by performing this act so zealously.

What you will think of this--that--just imagine--I do not as yet know exactly. I know who you are and perfectly feel what you are, and yet it must appear to me as if in this point you could not as yet be entirely your own self. But enough of this. There are earthly things on which we may occasionally be of different opinion without ever parting from each other in divine things. If you don't approve of something here, shut your eyes to it.

Let me at last have some good news of you. In your most intimate relations you seem to me so sadly placed that I am quite melancholy about it. Is the illness of the Princess so serious that, apart from its long duration, it inspires you with real anxiety? I must almost fear this unless you reassure me about it. Do this as soon as you can, and tell the highly esteemed lady how cordially I sympathize with her sufferings.

Dear, dear Liszt, arrange that we soon may see each other. Perhaps the Princess would benefit by Swiss air; send her here and come with her.

I cannot go on today. I wanted to write to you about your Goethe foundation, but must wait for a calmer hour to meet your splendid idea with dignity.

Farewell, and be pressed to the heart of your

RICHARD WAGNER.

ENGE, ZURICH, April 18th, 1851.

I doubt whether the correction of the proof will still be necessary, but have sent it to Leipzig nevertheless.

60.

Then we are to have "Young Siegfried"! You are truly a most incredible fellow, to whom one must doff hat and bonnet three times. The satisfactory settlement of this matter rejoices me cordially; and, as you may imagine, I have perfect faith in your work. But let us say nothing about it until you send in "Young Siegfried" (July 1st, 1852), so as to avoid the useless preliminary talk of people. Here nobody knows about it, excepting Zigesar; and we are anxious to keep it from the public. "Lohengrin" at its last performance (the fifth) on Sunday was appreciated more than ever, and actors and orchestra also came nearer to the understanding and the interpretation of the work. The house was filled for the greater part, it is true, by Erfurters, Naumburgers, and other curious people from the neighbourhood, for, to speak candidly, our Weymar public, with the exception of about a dozen persons, are not yet sufficiently advanced to be in real sympathy with so extraordinary a work. That "Lohengrin" has reached its fifth performance in one season is a kind of miracle which must be attributed to the Court. The Hereditary Grand Duchess had especially asked for this performance on the occasion of her first visit to the theatre after her confinement. From Leipzig came David and Moscheles, from Halle Robert Franz, from Eisenach Kuhnstedt. Professor Stahr, who has become a dear friend, and Fanny Lewald have been here about a fortnight.