My Life, Richard Wagner [little readers .txt] 📗

a fact which astonished him, and which he recognised so clearly that he thought he had better leave after a few days. This made me in my turn embarrassed, and I now took special care to deprive him of the bad opinion he had formed of me. I soon learned to like him, and for a considerable time, until shortly before his departure from Lucerne, he was my daily companion, from whose intercourse I derived much pleasure, as he was a highly gifted musician and by no means a prig. But Drasecke was not my only visitor.

Wilhelm Baumgartner, my old Zurich acquaintance, came to spend a few weeks in Lucerne out of kindness to me. And lastly Alexander Seroff from St. Petersburg came to stay some time in the neighbourhood. He was a remarkable man, of great intelligence, and openly prepossessed in favour of Liszt and myself. He had heard my Lohengrin in Dresden and wanted to know more of me--an ambition I was obliged to satisfy by playing Tristan to him in the rough-and-ready fashion which was peculiar to me. I went up Mount Pilatus with Drasecke, and again had to look after a companion who suffered from giddiness. To celebrate his departure I invited him to take an excursion to Brunnen and the Grutli. After this we took leave of each other for the time being, as his moderate resources did not permit him to remain any longer, and I too was seriously thinking of taking my departure.

The question now arose as to where I was to go. I had addressed letters, first through Eduard Devrient, and finally direct to the Grand Duke of Baden, asking the latter for a guarantee that I might settle, if not in Karlsruhe itself, at least in some small place in the neighbourhood. This would suffice to set at rest a craving, which could no longer be suppressed, for intercourse now and then with an orchestra and a company of singers, if only to hear them play. I learned later that the Grand Duke had really bestirred himself in the matter by writing to the King of Saxony. But the view still prevailed in that quarter that I could not be granted an amnesty, but could only hope to receive an act of grace; it being assumed, of course, that I would first have to report myself to a magistrate for examination. Thus the fulfilment of my wish remained impossible, and I shrank in dismay before the problem of how to secure a performance of my Tristan which I could superintend in person, as I had determined to do. I was assured that the Grand Duke would know what measures to resort to in order to meet the situation. But the question was, where was I to turn for a place in which to settle with some prospect of being able to remain there. I longed for a permanent home again. After due consideration I decided that Paris was the only place where I could make sure of now and then hearing a good orchestra and a first-class quartette. Without these stimulating influences Zurich at last became unbearable, and in no other city but Paris, where I could stay undisturbed, could I safely reckon on being able to obtain artistic recreation of a sufficiently high standard.

At last I had to bestir myself to come to a decision about my wife. We had now been apart from each other for a whole year. After the hard lessons she had received from me, and which, according to her letters, had left a deep impression upon her, I was justified in assuming that the renewal of our life in common might be made tolerable; especially as it would remove the grave difficulty of her maintenance. I therefore agreed with her that she should join me late in the autumn in Paris. In the meantime I was willing to look for a possible abode there, and undertook to arrange for the removal of our furniture and household goods to the French capital. In order to carry out this plan financial assistance was imperative, as the means at my disposal were quite inadequate. I then made to Wesendonck the same offer in regard to my Nibelungen that I had made to the Grand Duke of Weimar, that is to say, I proposed that he should buy the copyright for publishing the work. Wesendonck acceded to my wishes without demur, and was ready to buy out each of the completed portions of my work in turn for about the same sum as it was reasonable to suppose a publisher would pay for it later on. I was not able to fix my departure, which took place on the 7th of September, when I went for a three days' visit to my friends in Zurich. I spent these days at the Wesendonck's, where I was well looked after and saw my former acquaintances, Herwegh, Semper, and Gottfried Keller. One of the evenings I spent with them was marked by an animated dispute with Semper over the political events of the time. Semper professed to recognise, in the recent defeat of Austria, the defeat of the German nationality; in the Romance element represented by Louis Napoleon, he recognised a sort of Assyrian despotism which he hated both in art and politics. He expressed himself with such emphasis that Keller, who was generally so silent, was provoked into a lively debate. Semper in his turn was so aggravated at this, that at last in a fit of desperation he blamed me for luring him into the enemy's camp, by being the cause of his invitation to the Wesendonck's. We made it up before we parted that night, and met again on several occasions after this, when we took care never again to let our discussions become so passionate. From Zurich I went to Winterthur to visit Sulzer. I did not see my friend himself, but only his wife and the boy she had borne to him since my last visit; the mother and child made a very touching and friendly impression on me, particularly when I realised that I must now regard my old friend in the light of a happy father.

On the 15th of September I reached Paris. I had intended to fix my abode somewhere in the neighbourhood of the Champs Elysees, and with this object in view at once looked out for temporary lodgings in that district, which I found eventually in the Avenue de Matignon. My main object was to discover my desired peaceful place of refuge in some small house remote from the thoroughfares. I at once bestirred myself to find this, and thought it my duty to make use of every acquaintance I could call to mind. The Olliviers were not in Paris at the time; Countess d'Agoult was ill, and was also busy arranging her departure for Italy, and unable to receive me. She referred me to her daughter the Countess Charnace, upon whom I called, but without being able to explain to her the purpose I had in view. I also looked up the Herold family, who had received me in such a friendly way on my last visit to Paris; but I found Mme. Herold in a strange and morbidly excitable state of mind, the result of ill-health, so that instead of discussing my views with her, my only thought was to keep her calm and avoid upsetting her by even the slightest appeal for help. In my passionate longing to find a home I decided to get no further information, but set about the matter myself. At last I discovered in the Rue Newton near the Barriere de l'Etoile, a side street off the Champs Elysees, not yet completed in accordance with a former plan of Paris, a nice little villa with a small garden. I took this on a three-years' agreement at a rent of four thousand francs a year. Here, at all events, I might look for complete quiet and total isolation from the noise of the streets. This fact alone prepossessed me very much in taking the little house, the late occupier of which had been the well-known author Octave Feuillet, who was at that time under the patronage of the imperial court. But I was puzzled that the building, in spite of my being unable to detect anything old in its structure, had been so neglected inside. The proprietor could in no way be induced to do anything to restore the place and make it habitable, even if I had consented to pay a higher rent. The reason of this I discovered some time afterwards: the estate itself was doomed in consequence of the plans for the rebuilding of Paris; but the time had not yet come to make the official announcement of the government's intentions to the proprietors, because, had this been done, their claims to compensation would have become valid at once. I consequently laboured under the pleasant delusion that whatever I was obliged to spend on interior decoration and on restoring the property would, in the course of years, prove to be money well invested. I therefore proceeded to give the necessary instructions for the work without hesitating, and ordered my furniture to be sent from Zurich, thinking that as fate had driven me to my choice, I could regard myself as a resident of Paris for the rest of my life.

While the house was being prepared, I tried to get my bearings as to what could be extracted for my future existence out of the popularity of my artistic works. The first thing I did was to look up M. de Charnal and to get information from him about the translation of the libretto of my Rienzi with which he had been entrusted. It turned out that M. Carvalho, the director of the Theatre Lyrique, would hear of absolutely nothing but Tannhauser. I prevailed upon Carvalho to visit me to talk the matter over. He declared that he was most certainly inclined to produce one of my operas, only it must be Tannhauser, because, as he explained, this opera was identified with me among the Parisians, who would think it ridiculous to produce any other work under the name of 'Wagner.' As to my choice of a translator for the poem of this opera he seemed to entertain grave doubts: he asked whether I had not made a mistake, whereupon I tried to get more definite information about the capabilities of M. de Charnal, and discovered to my horror that this charming young man, who boasted that he had collaborated in a melodrama called Schinderhannes, which he thought was a German romantic subject, had not had the slightest conception of the character of the work he was handling.

As his enthusiasm moved me, I tried to shape some verses with him and make them practicable for musical purposes; but I failed utterly, and all my trouble was in vain. Bulow had once drawn my attention to Auguste de Gasperini, a young doctor who had ceased to practise, and whose acquaintance he had made in Baden-Baden, where he discovered that he was extraordinarily fond of my music. I called upon him without loss of time, and as he was not in Paris, I wrote to him. This man sent his friend Leroy to me with a letter of recommendation. He was a well-educated Parisian music-master, who won my esteem by his attractive personality. My confidence in him was aroused, because he at once dissuaded me from associating myself with an obscure journalist on a theatrical newspaper (in which character M. de Charnal finally disclosed himself), and advised me to go to Roger, a highly gifted and experienced operatic singer, who had been a favourite with the Parisian public and was master of the German language. This lifted a load from my heart: I