Chapter VII: Act III: , Scene 2 (page 291) (3)

Stahr is going to write about "Lohengrin" in the National Zeitung or Kolnische Zeitung. If after reading his article you feel inclined to write him a few lines, send them to Weymar (Hotel Zum Erbprinzen). Muller has written another "Lohengrin" article in the Weimar Zeitung, which he has probably sent to you. After the performance of "Lohengrin" I received your letter about the Goethe foundation, and I thank you cordially for it. I may mention, however, that perhaps no less than two years' time and trouble will be required to make the idea of the Goethe foundation a reality. I am prepared to devote that time to it, because I am firmly convinced that without my activity the thing here will simply come to nothing, as has already happened at Berlin.

Should you not be inclined to publish your letter in its actual form of a letter to me in some newspaper which is open to you? I will send it back to you in a few days for that purpose, asking you, however, to return it to me at Weymar as soon as you have done with it.

The day after tomorrow I have to go to Eilsen for the third time, but hope to be back here at Whitsuntide. At the close of the theatrical season we shall have either "Tannhauser" or "Lohengrin" once more. The direction of the former work I think I may now leave to Gotze.

If possible, send me a copy of your autobiography direct to Eilsen (Buckeburg). I can make good use of it in connection with the pamphlet which is to be published (in French) in June by Brockhaus. If your article on the Zurich theatre has appeared, send it also to me at Eilsen, where I shall employ my time in reading and working. I am most curious to know your views and practical proposals with regard to theatrical matters, and I shall be most ready to adopt your ideas as far as possible.

Draw up occasionally for me a repertory of earlier and modern works which appear to you most adapted to further the cause of art. At present I cannot help thinking it advisable to make some eclectic concessions (alas! alas!) to the existing state of our theatrical institutions.

Be well and active, dear, splendid friend, and soon give news to your

F. LISZT.

WEYMAR, May 17th, 1851.

61.

BEST OF ALL FRIENDS,

I must reply to you at once about a few things which you ask me in your letter received yesterday, so as to let you know how matters stand. First of all (as is always the case when I have to deal with you), I must wipe a blush of shame off my face before answering you. Your wishes always concern me, and that in a sense which must flatter me to the very core. You want a copy of my autobiography in order to make use of it for your pamphlet. What can I say to that? I will say nothing, but only reply that in this instance my vanity is not sufficiently great to make me carry my biography about with me. I do not possess it, and do not know where to get it. If you really want to see it, you might perhaps get it more easily from Weimar, if I told you exactly where it is to be found. It appeared in the "Zeitung fur die elegante Welt" in the year 1843, first quarterly issue, month of February, I believe. But I can scarcely think that you will find much in it beyond the confirmation of the fact that I too have erred much in my artistic efforts, not being one of the elect who, like Mendelssohn, received the only true, infallible, "solid" food of art, like heavenly manna in their mouths, and who therefore were able to say, "I have never erred." We poor earthly worms can get only through error to a knowledge of truth, which therefore we love passionately, like a conquered bride, and not with the genteel approval with which we look upon a spouse selected for us beforehand by the dear parents. At that time when I wrote my autobiography by Laube's desire, I had, it is true, finished my "Flying Dutchman" and sketched the poem of "Tannhauser", but only through my completed "Tannhauser" and my completed "Lohengrin" did I gain perfect clearness as to the direction in which I had been impelled by unconscious instinct. Later on, in connection with the edition of my operatic poems, I shall take occasion to explain the process of development observed in me; certain it is that nothing of this can be contained in my autobiography. All the more interesting will it be for me to see that direction judged from his own observation by some one else, i.e., some one like you.

Concerning my last letter to you, I must ask you to be assured that I wrote it without ostensible object. To you alone I wanted to speak on a topic started by yourself, because I did not desire to support an opinion in a general way, but to effect something real, viz., the foundation of an original theatre. I therefore did not want to address the public--which qua public is quite useless for that purpose--but some one who has the intellect and before all the energy to view distinctly the accomplishment of such an object in given circumstances. If in the actual condition of generally accepted opinion something is to be undertaken which combats and denies that opinion as detrimental to art, this can of course only be done by individuals. We cannot expect a better general condition until the individual has become perfectly strong in itself, for the general must proceed from individuals, and for the present therefore we must be intent upon being ready ourselves and communicating with none but those nearest akin to us. In this spirit I look upon the theatre. If we want to work for a rational condition of the theatre in all Germany, we shall never achieve anything in the slightest degree rational unless we begin at some given point, even the smallest. That point I imagine I have found where an embodiment of genius and energy is already acting in the right sense. Where else can you find such things as are done at Weimar? But through whom is this done? Through you alone! The Court may have the best possible intention; it is not an artist to realize its intention or even to conceive a distinct intention, for that in this case none but an artist can do. This is the reason why I have applied to you alone. I had no other intention. If you think it useful and appropriate to make a wider use of my communication, you are quite at liberty to do so. If you think that a totally independent word of mine as to the position of poetry and the fine arts, especially in reference to a given object, may not be wholly without beneficial influence on many of those concerned, before all if you think that the object in question may be furthered by it, I ask you to dispose of my letter as your property. I, however, cannot undertake its publication. I should defeat my original purpose in doing so, besides which no journals are open to me. In the "Deutsche Monatsschrift", to which I am now and then asked to contribute, I do not like on principle to treat the question in this form; our object would not be furthered by it. Act therefore entirely according to your judgment. If you think it useless, leave it alone. If, however, you print the letter, omit what you think unfit for publicity. I should not willingly make additions, because they would of necessity have reference to the "original theatre," and about that I should have to say a great deal to make my idea comprehensible to the general public.

You have probably received my little pamphlet "Ein Theater in Zurich." Much, yea most, in it will not suit you, for the conditions here are too different from those of Weimar; but my idea of the essence of the activity of the "original theatre" the little work will make tolerably clear. In case you ask "whether I wish to exclude altogether everything extraneous" I reply in advance, Yes, for the present, and until the main object is attained, but not for the future. The main object is this: that the theatre imagined by me should, by the originality of its work, gain perfect individual independence, should educate itself to be a conscious individual. This object once attained, this individual independence achieved, then, and then only, should it exchange its achievements with those of other equally independent theatrical individualities, and by means of this exchange be fructified to ever greater capability and variety, extending in this manner to wider and generally human circles. This fructifying exchange can be successfully accomplished only when receiving means at the same time giving; only he who can give can receive with benefit to himself. At present our theatres are so wholly dependent, so entirely without individuality, that they can do nothing but receive, without having the power of really appropriating what they receive. Our theatres are undeveloped beings, pulpy, pappy molluscs, which can never bring forth a man.

I must refrain from saying any more on this head; it might easily lead me to writing another book of four hundred pages, and the writing of books I am determined to abandon in preference to producing a work of art. Only this much I must add: through you Weimar is already in a good way; proceed on that way of original achievement with conscious principle, express that principle distinctly, and by that means gain more and more participants in your consciousness; by that means you can easily show how an intention may gradually become a reality. Raff's opera has pleased me immensely; that is right, and now onwards! or, to speak plainly, it is your turn now,

Write an opera for Weimar, I entreat you; write it exactly for the artists who are there, and who through your work will be elevated, made more noble, more universal. Continue, if you like, your plans for the Italians; there also, I feel sure, you can do famous and useful things, but at the same time abide by what is nearest to you, by what is your present home; where you are in bodily presence, and with your whole mental energy, be there also with your productive will; do not trouble yourself about the other German theatres and their conditions. You do not want them in order to achieve something beautiful and at the same time useful. Candidly speaking, what do you seek just now, and with your present activity amongst the Italians, otherwise than an increase of your fame? Very well, but will that make you happy? For that you no longer care! Other conditions are necessary to give you happiness. Do something for your Weimar.

Well, I will not entreat you anymore for the present; you must find out for yourself what you have to do.

One thing more, however: work thoroughly for the culture of your theatrical people. You will get the desired artists from nowhere unless you create them for yourself. Be careful to make your singers first of all good actors; how is he to sing who cannot speak and declaim well? Nothing can here be done in a casual manner; you must proceed on principle and with expressed intention. (For that reason think of the Goethe foundation!) To speak plainly, you want a good stage-manager. Genast is a splendid fellow, but he has grown old in routine; he does not know, and will never understand, what has to be done. A man like Eduard Devrient would be of excellent effect for the training of your actors, for he knows what has to be done. (I admit the difficulty of getting such a man.) You must further have an able singing master. I believe that Gotze has good qualities for the post, but he ought to have power as well; people ought to be compelled to learn from him.

I am aware that a man does not become an artist by mere training, but he can never become an artist unless his organic faculties are healthily developed, and that is what is wanting amongst us almost everywhere. Other things will be easily set right if you are more careful in the choice of works selected for performance than is generally the case amongst us. The coarse mixture of all genres and all styles is the evil which prevents our actors from gaining any kind of artistic consciousness. Gluck today, Donizetti tomorrow, Weber today, Rossini or Auber tomorrow, serious today, frivolous tomorrow--what is the result? That the people can do neither Gluck nor Donizetti, neither the serious nor the frivolous. How terrible also are the translations! People get systematically accustomed to the absolute senselessness of scenic representations; look therefore to a rational treatment of the translated librettos. Before all, accustom your singers to looking upon their work in the first instance as a dramatic task; the accomplishment of their lyrical task will after that be an easy matter. Works of the earlier French school are most adapted to the purpose, because in them a natural dramatic intention is most perceptible. Singers who cannot execute well and effectively the "Water-carrier," by Cherubini, or "Joseph," by Mehul--how are they to be able to master the (in that case) enormous difficulties of, for example, one of my operas? The chief thing, however, will always be new works and such works as are adapted to our set of artists and have been written specially for this theatre. But enough of preaching! If I have been almost impertinent, you must forgive me. Today is my birthday, and you could not have sent me a better present than your letter of yesterday.

As yet Heaven has not given us fine weather, but I wait for the first bright, sunny day to commence the poem of my "Young Siegfried" with the pen. In my head it is ready. In July I hope to send you the poem.

Your last news has once more made me desirous to write to the Hereditary Grand Duchess. The contact with a sympathetic, noble female nature is to me an infinitely joyful feeling, and that feeling I should like to gain as a blessing for my impending work. If you think that I might permit myself a slight deviation from the ordinary official style towards this lady, I should ask you one of these days to forward a letter from me to her. The official style I cannot manage. Our dear, foolish Zigesar always writes to me, "Ew. Wohlgeboren," etc. I wish he would leave that alone. I am sorry when, in his kindness towards me, I stumble over this kind of powder and pigtail business.

May God bless you, not the "god of Buckeburg." You are right in retiring into solitude now and then; without that men like us cannot exist. Greet the Princess most cordially. I hope she will soon be well again.

Farewell, dearest of friends. I press you to my heart!

Your

RICHARD WAGNER.

ENGE, ZURICH, May 22nd, 1851.

62.

DEAREST FRIEND,

Short news from me today.

I have quite finished the poem of my "Young Siegfried". It has given me great joy; it is certainly what I was bound to do, and the best thing that I have done so far. I am really glad about it. With my violent way of working, I am always considerably tired at the end. I must take some time to recover. I cannot just yet make up my mind to copy it out for you, for many reasons, too long to tell. I feel also some bashfulness in submitting my poem to you without further explanation--a bashfulness which has its reason in me, not in you. I therefore ask you whether there is not a chance of my seeing you soon. Some time ago you made me think so. How is it now? Can you visit me, or at least appoint a place, accessible to me, for meeting? Please answer this question at once. My longing to see you, dear, splendid friend, again after two years, during which you have been more to me than I can describe, and to spend a few days with you, is greater than I am able to express. Can you fulfill this longing? If we could meet shortly, I should keep my "Young Siegfried", in order to read it to you. This would add to my peace of mind considerably. The written word is, I fear, insufficient for my intention; but if I could read it to you viva voce, indicating how I want to have it interpreted, I should be quite satisfied as to the desired impression of my poem upon you. Write to me at once what my chances are. If, alas! you cannot come, I shall have a copy made at once and send it you.

One thing more: in my last letters I entirely forgot to mention the Hartel affair to you. By a certain impulse, I applied to Breitkopf and Hartel about "Lohengrin". I owed them from of old two hundred thalers for a grand pianoforte, and proposed to them to wipe out this debt and to take the copyright of "Lohengrin" in return. At first they entertained my offer as to the pianoforte score, but I insisted again on the full score being engraved, telling them that something might be done by subscription, and referring them to your influential help. For a long time I heard nothing, but today I have a letter from the H.'s, saying that they accede to my wish and are prepared to print the full score. How has this happened? Now that my demand has been granted, it almost appears fabulous to me that they should publish the full score of an opera which has only been given at Weimar.

What do you think? Can I expect this of them? This, in my opinion, is a nobility of conduct which makes me feel ashamed. I should almost like not to accept the H.'s offer for "Lohengrin" on condition that they engrave the full score of my "Young Siegfried". This child, which I have engendered and should like to give to the world, is naturally even nearer to my heart than "Lohengrin", for I want it to be stronger and healthier than he. If the H.'s publish the score of "Lohengrin", it may be assumed to a certainty that the sale will be so small as to make them wholly disinclined for the engraving of the full score of "Young Siegfried"; and this latter is of course of much greater importance to me. What do you think? Advise me, dear Liszt! Shall I hold their offer over for "Siegfried" and give up "Lohengrin" instead? To get both appears almost impossible to me. Advise me!

Farewell for today. My pen will not obey me any longer; I am too excited by many things.

Farewell, and write to me how you are and whether I shall see you. Are you well? Greet the Princess! Farewell.

Your

RICHARD WAGNER.

ENGE, ZURICH, June 29th, 1851.

63.

DEAREST FRIEND,

The news of the happy birth of "Siegfried" pleases me much, and I thank you for letting me know at once. How I should like to hear you read it and to visit you at Zurich! But, alas! this year it is quite impossible for me to think of any journey whatever. At the end of this month I hope that the health of the Princess will allow her to start; and in order to make the journey less fatiguing, we shall return slowly by Dusseldorf, Cologne, Frankfort, and Eisenach. You, dear friend, must need rest and a little country life after the completion of your work. Please do not trouble yourself on my account by making at once a copy of "Siegfried"; you will send it me on occasion later on at Weymar, where, locked up, still remains "Wiland", which, to my regret, I have not been able to send you, not having the necessary keys at hand. I have explained this to Uhlig. If he is with you, remember me kindly to him, and excuse me to him once more for my involuntary negligence.

The Hartels are quite comme il faut in their personal and business relations. Dr. Hartel came to Weymar to hear "Lohengrin", and I am delighted to hear that his impression has been confirmed by an imprimatur. As you ask my advice about what you had better do, accept his proposition or hold it over till "Siegfried", so as to make him publish the score of a new work for you, I have no hesitation in saying that, for all manner of reasons, I should think it preferable to publish now only the pianoforte score of "Lohengrin", and to make arrangements with Hartel that the pianoforte score and full score of "Siegfried" should appear soon after the Weymar performance, which probably, and at the latest, will take place in February, 1853, for the fete of H.R.H. the Grand Duchess. "Lohengrin" will lose nothing by waiting chez nous.

As I wrote to you before, it will take some time before this glorious work meets with the swans which are to draw its barque to the banks of the Spree and the Elbe. Ganders and turkeys would like to lead it to shipwreck, but do not lose patience, and have confidence in the moderate amount of practical knowledge which your friend places loyally at your service and disposal. In the early days of August my pamphlet "Lohengrin et Tannhauser" will appear; it was written for a purpose which neither you nor your friends have hitherto been able to guess, and which it will take me some time to attain. I am far, however, from despairing of that attainment, but shall not let you know till the moment of success, in order to avoid unnecessary words--a habit which is growing upon me more and more. If you follow my advice, dear friend, write to H. in the sense indicated by you; that is, ask him to keep his good intentions for the engraving of one of your full scores till after the first performance of "Siegfried", and to publish for the present only the pianoforte score of "Lohengrin". Send to me here, please, if you possess them, the numbers of the "Monatsschrift" of Kollatschek containing your and Uhlig's articles. Heine in the same number has thought it necessary to make some of his rhymed jokes at my expense with his usual spirit. More than a fortnight ago I subscribed to that magazine through my bookseller, but as yet it has not reached me. Farewell, dearest friend. Believe me that I am truly vexed at not being able to attend the rendezvous which you propose, and which would have given me great pleasure--the pleasure of seeing you again and of having plenty of talk with you.

Always rely upon your

F. LISZT.

EILSEN, July 3d, 1851.

64.

MY BEST FRIEND,

I had just come down from the Alps when I found your letter, which again has given me the greatest joy. I thank you with my whole heart for your advice, so speedily given. You agree with me as to Hartel's offer; I expected so much, and it is a confirmation of my right sense in the matter. The full score of "Siegfried" it is to be, then. I feel as safe with you as a child in the mother's bosom; you take such care of me, dearest friend.

Uhlig is here. He has taken every trouble and made every sacrifice to save enough for a visit to me in Switzerland. Considering his cool, quiet, and passionless nature, the faithful attachment and friendship of this young man are of great value to me. As a very young musician he attracted my attention in the Dresden orchestra by his uncommon musical certainty and circumspection. Being struck by traits of unusual force of character and of a firm, manly disposition, I admitted him to intimate intercourse, and found a man who in the poorest circumstances had developed himself entirely out of himself. Thus I gained a friend who subsequently from a distance made it the task of his life, as far as his power extended, to serve me in a manner which,--the inclination being equal in both cases,--has been surpassed only by your brilliant genius.

You wanted to have some numbers of the Deutsche Monatsschrift. I happen to possess them, and send them to you, although I do not quite see of what use they can be to you. My book "Oper und Drama," in which I certainly express myself in a decisive, firm, and detailed manner, is passing through the press very slowly, and will probably not be ready before two months. Out of this book I have, by special desire, communicated some articles about modern dramatic poetry to the Monatsschrift, but am now sorry for it, for, torn out of their context, they are not particularly clear. I send them to you all the same, although I should almost like to ask you to ignore them. As you will not get the Monatsschrift, because it will be discontinued, I send you another number with an article entitled "Wir," by Solger; it is written so prettily that I should almost like you to read it. So many stupid things have appeared in that Monatsschrift that the detached good bits really deserve attention. As to Heine's stupid joke you will probably not be in need of comfort. Lord, how delighted I am with my "Young Siegfried"; he will deliver me once for all from all literature and journalism. This month I require fully to recover my health in order to rush at the music next month. The copy of the poem I shall send you by Uhlig, if not sooner.

May the god who dwells in both of us keep you healthy and happy. With pleasure I see from your letter that the Princess also is recovering. I hope you will both get safely back to Weimar, which is more and more becoming my real spiritual home.

Farewell, and be greeted from the full heart of your

RICHARD WAGNER

ENGE, ZURICH, July 11th, 1851.

65.

I am much obliged, dearest friend, for your sending me the Monatsschrift of Kollatschek, which I had been unable to get previously. As soon as I have read the articles which interest me I shall return them to you, and perhaps you might send me the numbers which contain the continuation of Uhlig's articles on instrumental music.

To my regret, I shall probably miss Uhlig's visit to Weymar, for I shall not be able to leave here till between the 26th and 30th of this month, and shall travel very slowly by Dusseldorf, Cologne, Frankfort, to Weymar, which I shall not reach till about the 10th of August. But in any case I shall go to see Uhlig at Dresden in the course of the autumn, for I attach real value to the continuance of my friendly relations with him, and I ask you to assure him of this as well as of my sincere and loyal sympathy.

I send you today the letter of M. Philipront, of Brussels, and the draft of my answer, by which you can regulate your subsequent correspondence with those gentlemen. For many reasons, I ask you specially not to give way on the two conditions of your collaboration in the adjustment of the French words to the music and of your presence at the general rehearsals, which I have mentioned distinctly to M. Philipront as necessary, and without which, entre nous, "Lohengrin" would run a great risk of being abominably cut and slashed.

I am delighted that you agree with my opinion about the publication of the score of "Lohengrin." In this, as in other matters, the Hartels have behaved with a tact and good taste for which one ought to be truly thankful, and I feel convinced that the scores of both "Siegfried" and "Lohengrin" will appear at short intervals, and in the course of two years. But, all things considered, I think it advisable to begin with the pianoforte score of "Lohengrin", to be followed by the full score of "Siegfried", and finally that of "Lohengrin", in 1853 or perhaps sooner.

If Uhlig leaves you before the end of the month, he might inquire at Buckeburg whether I have left Eilsen, for he is obliged to pass through Buckeburg if he takes the railway from Cologne or Dusseldorf, which will be the shortest route to return to Dresden. I have written this to him in my last letter, which should have reached him. I should like very much to see him here, and you will oblige me by giving him a pressing invitation on my account. What has become of your disciple Ritter? Remember me to him when you see him. The manuscript of "Wiland", which is still locked up in a chest at Weymar, will be sent on demand to Uhlig immediately after my return there.

The Princess, who, God be thanked, has been perceptibly better these last days, charges me with her admiration for you, to which I add only the simple expression of my friendship and true devotion.

F. L.

Draft of my answer to M. Philipront, which, I hope, will draw the question of the "Lohengrin" performance at Brussels out of confusion:--

"Sir,--As your letter of July 6th did not find me at Weymar, you will kindly excuse the delay of my answer. When Herr Wagner informed me of the proposal of M. Hanssens to perform "Lohengrin" at the Brussels theatre and asked my opinion of the matter, I advised him to thank M. Hanssens for the hospitality he had offered to that beautiful work and to accept it on two conditions, which seem to me indispensable for its full success. They are that the author should collaborate in the adjustment of the French words to the music, and that the last two rehearsals should take place in his presence. "Lohengrin" belongs by no means to the ordinary run of operas, but is in all respects an exceptional and sublime work; and it would therefore, in my opinion, be dangerous to attempt a performance which would not be completely identified with the ideas and intentions of the poet- composer. In another fortnight I shall have an opportunity of sending you a copy of my pamphlet on "Lohengrin", which will appear at the beginning of August (in French, Brockhaus, Leipzig). If, after having read it, you continue in your intention of giving "Lohengrin" at the Brussels theatre and of rendering a double service to dramatic art and the author, you can easily communicate direct with Herr Wagner as to the arrangements for carrying out the two conditions made and insisted upon by him.

"I am, Sir, etc.,

"F. LISZT

"EILSEN, July 16th

"The theatre of Weymar not being able to part with its one copy of the score of "Lohengrin", in consequence of the frequent performances of that work, it is out of my power to send it to you; but Herr Wagner will, no doubt, send you either the original manuscript or a copy, specially made for Brussels.

"The address of Herr Wagner is 'Abendstern, Enge, Zurich.'"

66.

DEAR LISZT,

Two words only. You have understood "Lohengrin" aright; Stahr has not. I withdraw my consent to his opinion; it was given in haste. You will soon hear more from me, best of all men!

Your

RICHARD WAGNER

August 23rd, 1851

67.

MY DEAR FRIEND,

At last I am able to break my long silence. The contents of this letter will show you with regard to how many and comparatively important matters I had to come to a clear decision before I could write to you in the definite manner which has now become possible.

My silence was to a large extent caused by my weak state of health. For more than two months I have been using a water cure, and during that time I found it quite impossible to write to you at such length as I felt more and more every day that I ought to do. A most cogent reason for writing to you arose to me from reading your pamphlet on my two operas, which I received at the hydropathic establishment. Your rare friendship for me, your energetic love of my works, your restless zeal in making propaganda for those works, and, before all, the splendid enthusiasm, the spirit, the subtlety, and boldness with which your zeal inspired you, moved me too deeply and powerfully to allow me to express my gratitude in the excited state in which I was. I had to leave this to a time when better health and a more collected mind would make it possible for me to communicate with you at greater length. I hope now to have got so far, and must tell you first of all that the sacrifice of the most beautiful affection which you have again offered me has moved me to the heart and has made me very glad and happy. You have moved me most deeply in all those parts where you had come to a perfect agreement with me, for the reason that this agreement was not a ready-made thing, but a discovery new to both of us. Most specially were my attention, sympathy, and eagerness awakened when I saw my original intention newly reflected in the mirror of your individual conception; for here I was able to realize fully the impression I had been fortunate enough to produce on your fertile artistic receptivity.

What you have been to me I tried recently to explain in a public manner, and having to write for publicity, I did so as soberly as possible, limiting myself entirely to the facts of our relations which I wanted to explain to those who perhaps could not understand such a friendship nowadays. I did this, being irresistibly impelled by my heart, in a "Mittheilung an meine Freunde," which I prefixed as an introduction to my three operatic poems. In the same place I stated plainly that I had despaired of ever again undertaking an artistic task, and that to you and your active sympathy it was solely due if I once more had gathered sufficient courage and energy for an artistic enterprise, which I should dedicate to you and to those of my friends comprised in "the local idea: Weimar." The timidity of Messrs. Hartel, the publishers of the book, has taken exception to certain passages in that preface to which I did not wish to have any demonstrative intention attributed, and which I might have expressed just as well in a different way; and the appearance of the book has in consequence been much retarded, to my great annoyance, for special reasons.

For the public declaration as to the intended destiny of my next dramatic work would, owing to my latest resolution, require an essential modification if it were to be quite in accordance with actual circumstances. But, although the preface, written at the beginning of last August, appears in the present circumstances too late, the aforesaid declaration will be given to the public without any change; and if I cannot fulfill the promise given in it in the manner there stated, it may at least serve you and my Weimar friends as a proof of the genuine sincerity of the intention then held by me. I should also be glad to think that in that public declaration I have furnished a sign of my gratitude for the sympathy they have shown to me, even if, as I said before, I cannot prove that gratitude in the exact manner there promised.

To you, my dear Liszt, I am now compelled to confess that my resolution of writing a new opera for Weimar has been so essentially modified as scarcely to exist any longer in that form.

Hear then the strictly veracious account of the artistic enterprise in which I have been engaged for some time, and the turn it had of necessity to take.

In the autumn of 1848 I sketched for the first time the complete myth of the "Nibelungen", such as it henceforth belongs to me as my poetic property. My next attempt at dramatizing the chief catastrophe of that great action for our theatre was "Siegfried's Death". After much wavering I was at last, in the autumn of 1850, on the point of sketching the musical execution of this drama, when again the obvious impossibility of having it adequately performed anywhere prevented me in the first instance from beginning the work. To get rid of this desperate mood, I wrote the book "Oper und Drama." Last spring your article on "Lohengrin" inspired me to such a degree that for your sake I resumed the execution of a drama quickly and joyously; this I wrote to you at the time: but "Siegfried's Death"--that, I knew for certain, was in the first instance impossible. I found that I should have to prepare it by another drama, and therefore took up the long-cherished idea of making the young Siegfried the subject of a poem. In it everything that in "Siegfried's Death" was either narrated or more or less taken for granted was to be shown in bold and vivid outline by means of actual representation. This poem was soon sketched and completed. When I was going to send it to you, I for the first time felt a peculiar anxiety. It seemed as if I could not possibly send it to you without explanation, as if I had many things to tell you, partly as to the manner of representation and partly as to the necessary comprehension of the poem itself. In the first instance it occurred to me that I still had many and various things to communicate previous to my coming before my friends with this poem. It was for that reason that I wrote the long preface to my three earlier operatic poems, of which mention has already been made. After this I was going to begin the composition, and found, to my joy, that the music adapted itself to these verses quite naturally and easily, as of its own accord. But the very commencement of the work reminded me that I should ruin my health entirely if I did not take care of it thoroughly before yielding to my impulse and finishing the work at a stretch and probably without interruption. When I went to the hydropathic establishment, I felt compelled at last to send you the poem; but, strangely enough, something always seemed to restrain me. I was led to hesitate, because I felt as if your acquaintance with this poem would place you in a certain awkward position, as if you would not exactly know what to make of it, whether to receive it with hope or diffidence. At last, on mature consideration, my plan in its logical sequence became clear to me. Listen to me:--

This "Young Siegfried" also is no more than a fragment, and as a separate entity it cannot produce its proper and sure impression until it occupies its necessary place in a complete whole, a place which I now assign to it, together with "Siegfried's Death," in my newly designed plan. In these two dramas a number of necessary relations were left to the narrative or even to the sagacity of the hearer. Everything that gave to the action and the character of these two dramas their infinitely touching and widely spreading significance had to be omitted in the representation, and could be communicated to the mind alone. But, according to my inmost conviction since formed, a work of art, and especially a drama, can have its true effect only when the poetic intention in all its more important motives speaks fully to the senses, and I cannot and dare not sin against this truth which I have recognized. I am compelled therefore to communicate my entire myth in its deepest and widest significance with the greatest artistic precision, so as to be fully understood. Nothing in it must in any sense be left to be supplied by thought or reflection; the unsophisticated human mind must be enabled by its artistic receptivity to comprehend the whole, because by that means only may the most detached parts be rightly understood.

Two principal motives of my myth therefore remain to be represented, both of which are hinted at in "Young Siegfried", the first in the long narrative of Brynhild after her awakening (Act III.), the second in the scene between Alberich and the Wanderer in the second act and between the Wanderer and Mime in the first. That to this I was led not only by artistic reflection, but by the splendid and, for the purpose of representation, extremely rich material of these motives, you will readily understand when you consider the subject more closely. Think then of the wondrously fatal love of Siegmund and Siegelinde, of Wotan in his deep, mysterious relation to that love, in his dispute with Fricka, in his terrible self-contention when, for the sake of custom, he decrees the death of Siegmund, finally of the glorious Valkyrie Brynhild, as, divining the innermost thought of Wotan, she disobeys the god, and is punished by him; consider this wealth of motive indicated in the scene between the Wanderer and the Wala, and at greater length in the above-mentioned tale of Brynhild, as the material of a drama which precedes the two Siegfrieds; and you will understand that it was not reflection, but rather enthusiasm, which inspired my latest plan.

That plan extends to three dramas: (l) "The Valkyrie"; (2) "Young Siegfried"; (3) "Siegfried's Death". In order to give everything completely, these three dramas must be preceded by a grand introductory play: "The Rape of the Rhinegold". The object is the complete representation of everything in regard to this rape: the origin of the Nibelung treasure, the possession of that treasure by Wotan, and the curse of Alberich, which in "Young Siegfried" occur in the form of a narrative. By the distinctness of representation which is thus made possible, and which at the same time does away with everything of the nature of a lengthy narration, or at least condenses it in a few pregnant moments, I gain sufficient space to intensify the wealth of relations, while in the previous semi-epical mode of treatment I was compelled to cut down and enfeeble all this. I mention only one thing:--

Alberich ascends from the depth of the earth to the three daughters of the Rhine; he persecutes them with his loathsome wooing; rejected by one, he turns to the other; laughing and teasing, they all refuse the gnome. Then the Rhinegold begins to glow; Alberich is attracted; he inquires as to its meaning; the girls tell him that they use it as a bright plaything, and that its splendour lights up the depth of the waves with blissful glow, but that he might work many wonders, might gain power and strength, wealth and dominion, through means of the gold, who could weld it to a ring. But only he who renounces love can do this. They tell him that to prevent any one from robbing the gold they have been appointed its warders, for he who approaches them would certainly not desire the gold; Alberich at least is not likely to do this, as he is so much in love with them. Again they laugh at him. Then the Nibelung grows furious, he robs the gold, and takes it with him into the depths.

But enough of these particulars. Let me tell you my plan for the practical execution of the whole.

Of a separation of the materials of this great whole I cannot think without destroying my object at the outset. The entire cycle of dramas must be represented in rapid sequence, and their external embodiment can be thought of only in the following favourable circumstances. The performance of my Nibelung dramas will have to take place at a great festival, to be arranged perhaps especially for the purpose of this performance. It will have to extend over three consecutive days, the introductory drama to be given on the previous evening. If a performance in such circumstances has been accomplished, the whole may in the first instance be repeated on another occasion, and after that the single dramas, being complete in themselves, may be given separately ad libitum; but in any case the impression of a continuous performance must have gone before.

Where and in what circumstances such a performance may become possible I must not for the present consider, for first of all I have to complete my great work, and that will take me at least three years if I have any regard for my health.

A fortunate turn in the affairs of my intimate friends the R. family has had the effect that for that time and for the rest of my life I may attend to my artistic creations quietly and undisturbed by material cares. When once I have finished my great work, means will, I hope, be found of having it performed according to my design. If Weimar is still standing then, and if your efforts at doing something fine there have been more fortunate than at present, alas! seems likely, and more than likely, we shall see how the matter can be managed.

However bold, extraordinary, and perhaps fantastic my plan may appear to you, be convinced that it is not the outgrowth of a mere passing whim, but has been imposed upon me by the necessary consequences of the essence and being of the subject which occupies me wholly and impels me towards its complete execution. To execute it according to my power as a poet and musician is the only thing that stands before my eyes; anything else must not trouble me for the present. Knowing your way of thinking, I do not doubt for a moment that you will agree with me and encourage my purpose, although it will frustrate for the moment your flattering wish soon to produce another work of mine.

After this I may confess that the definite alteration of my plan relieves me of an almost painful difficulty: the difficulty of having to demand the performance of "Young Siegfried" of the Weimar theatre. Only now, together with this explanation, do I send you the poem of "Young Siegfried" with a light heart, for I know that now you will read it without the anxiety which the thought of its completion and of its performance at the Weimar theatre, such as it is and cannot help being, would necessarily have caused in you. Let us have no illusions on this subject. What you, and you alone, have done for me at Weimar, is astonishing, and was all the more important for me, as without you I should have been entirely forgotten. Instead of this you have used all the means which you alone could have brought together in drawing towards me the public attention of lovers of art with such energy and such success that your efforts on behalf of me and my reputation are the only thing which enables me even to think of the execution of such plans as the one I have just communicated to you. This I see with perfect clearness, and I call you openly the creator of my actual position, which may perhaps lead to great things in the future.

I further ask, What expectations have you still of Weimar? With sad candour I must tell you that, after all, I consider your trouble about Weimar to be fruitless. Your experience is that as soon as you turn your back the most perfect vulgarity springs luxuriantly from the soil in which you had laboured to plant the noblest things; you return, and have just ploughed up once more half of the soil, when the tares begin to sprout even more impertinently. Truly I watch you with sadness. On every side of you I see the stupidity, the narrow-mindedness, the vulgarity, and the empty vanity of jealous courtiers, who are only too sadly justified in envying the success of genius.

But enough of this disgusting matter. For my sake I care no longer about it, for I have quite made up my mind as to it, but I care about it for your sake. I hope you will arrive at my opinion before it is too late for your good humour.

It is quite touching to me to have in a manner to take leave of our amiable Zigesar; I must write to him and at the same time pay my debt to him. This last is one of the most painful features of the explanation which will be necessary.

You are aware that I had determined upon writing a new work for you before the pecuniary arrangement between Zigesar and me was made. That such an arrangement was made and was offered to me by our friend with such obvious pleasure and satisfaction was of the greatest value to me.

This I have confessed to him candidly. It would appear almost trivial, mean, and in a certain sense offensive on my part to repay the sum already received on account of that agreement, for it was given to me, not in order to place me under any "obligation" towards you and Zigesar, but with the friendly desire to relieve me as far as possible of domestic cares during the composition of an opera. Nevertheless this agreement has still another meaning, which appears all the more serious at this moment because Zigesar has, temporarily at least, a successor in the management of the theatre. Towards this successor I am simply in the position of a debtor; and as I am not able to execute the commission I had accepted, I am bound formally and materially to dissolve a contract which cannot exist any longer. Fortunately I am in a position not to cause you any disagreeable difficulty as to this point.

After all these explanations, I send you, my dear friend and brother, the poem of my "Young Siegfried", such as I designed and executed it when I still thought of its separate performance. In connection with the other dramas it will naturally have to undergo many alterations, and especially some beneficial abbreviations in the narrative portion. Many things will strike you in it, notably its great simplicity and the few characters amongst whom the action is distributed; but if you think of this piece as placed between the "Valkyrie" and "Siegfried's Death", both of which dramas have a much more complicated action, you will, I have little doubt, in accordance with my intention, receive a peculiar and sympathetic impression from this forest scene, with its youthful, fearless solitude. As I told you before, I can now send you this poem willingly and without fear, for you are no longer required to glance from it anxiously towards your public. You need, for example, no longer trouble about what will be thought of the "woman" by people who see in "woman" only their own wives, or at the outside some girl, etc., etc. From this anxiety also I know you to be free, and am glad that I can disclose to you my artistic intention without fear of a real misunderstanding. Could I but succeed in engaging your favour and sympathy for my plan whenever and wherever it may be accomplished! I firmly hope for a future realization, for there is too much creative impulse in me not to nourish hope along with it. My previous continual anxiety about my health has also now been relieved by the conviction I have since gained of the all- healing power of water and of nature's medicine; I am in the way of becoming and, if I choose, of remaining a perfectly healthy man. If you wretched people would only get a good digestion, you would find that life suddenly assumes a very different appearance from what you saw through the medium of your digestive troubles. In fact, all our politics, diplomacy, ambition, impotence, science, and, what is worst, our whole modern art, in which the palate, at the expense of the stomach, is alone satisfied, tickled, and flattered, until at last a corpse is unwittingly galvanized--all this parasite growth of our actual existence has no soil to thrive in but a ruined digestion. I wish that those could and would understand me to whom I exclaim these almost ridiculously sounding but terribly true words!

But I notice that I am straying from one thing to another, and therefore will conclude at last. I ask you fervently, my dear Liszt, to write me soon and fully what you think of this letter and parcel. May I always find in you the kind friend and protector that you have been and are to me, and whom at all times I shall embrace with grateful, fraternal love.

Your deeply obliged

RICHARD WAGNER.

ALBISBRUNN, November 20th, 1851.

When you receive these lines, I shall be back in Zurich, where my address will be "Zeltweg, Zurich."

68.