My Life, Richard Wagner [best books to read now .txt] 📗

meant my final renunciation of my success in Paris. As long as the five hundred francs lasted, I had an interval of respite for carrying on my work. The first object on which I spent my money was on the hire of a piano, a thing of which I had been entirely deprived for months. My chief intention in so doing was to revive my faith in myself as a musician, as, ever since the autumn of the previous year, I had exercised my talents as a journalist and adapter of operas only. The libretto of the Fliegender Hollander, which I had hurriedly written during the recent period of distress, aroused considerable interest in Lehrs; he actually declared I would never write anything better, and that the Fliegender Hollander would be my Don Juan; the only thing now was to find the music for it. As towards the end of the previous winter I still entertained the hopes of being permitted to treat this subject for the French Opera, I had already finished some of the words and music of the lyric parts, and had had the libretto translated by Emile Deschamps, intending it for a trial performance, which, alas, never took place. These parts were the ballad of Senta, the song of the Norwegian sailors, and the 'Spectre Song' of the crew of the Fliegender Hollander. Since that time I had been so violently torn away from the music that, when the piano arrived at my rustic retreat, I did not dare to touch it for a whole day. I was terribly afraid lest I should discover that my inspiration had left me--when suddenly I was seized with the idea that I had forgotten to write out the song of the helmsman in the first act, although, as a matter of fact, I could not remember having composed it at all, as I had in reality only just written the lyrics. I succeeded, and was pleased with the result. The same thing occurred with the 'Spinner's Song,' and when I had written out these two pieces, and, on further reflection, could not help admitting that they had really only taken shape in my mind at that moment, I was quite delirious with joy at the discovery. In seven weeks the whole of the music of the Fliegender Hollander, except the orchestration, was finished.

Thereupon followed a general revival in our circle; my exuberant good spirits astonished every one, and my Avenarius relations in particular thought I must really be prospering, as I was such good company. I resumed my long walks in the woods of Meudon, frequently even consenting to help Minna gather mushrooms, which, unfortunately, were for her the chief charm of our woodland retreat, though it filled our landlord with terror when he saw us returning with our spoils, as he felt sure we should be poisoned if we ate them.

My destiny, which almost invariably led me into strange adventures, here once more introduced me to the most eccentric character to be found not only in the neighbourhood of Meudon, but even in Paris. This was M. Jadin, who, though he was old enough to be able to say that he remembered seeing Madame de Pompadour at Versailles, was still vigorous beyond belief. It appeared to be his aim to keep the world in a constant state of conjecture as to his real age; he made everything for himself with his own hands, including even a quantity of wigs of every shade, ranging in the most comic variety from youthful flaxen to the most venerable white, with intermediate shades of grey; these he wore alternately, as the fancy pleased him. He dabbled in everything, and I was pleased to find he had a particular fancy for painting. The fact that all the walls of his rooms were hung with the most childish caricatures of animal life, and that he had even embellished the outside of his blinds with the most ridiculous paintings, did not disconcert me in the least; on the contrary, it confirmed my belief that he did not dabble in music, until, to my horror, I discovered that the strangely discordant sounds of a harp which kept reaching my ears from some unknown region were actually proceeding from his basement, where he had two harpsichords of his own invention. He informed me that he had unfortunately neglected playing them for a long time, but that he now meant to begin practising again assiduously in order to give me pleasure. I succeeded in dissuading him from this, by assuring him that the doctor had forbidden me to listen to the harp, as it was bad for my nerves. His figure as I saw him for the last time remains impressed on my memory, like an apparition from the world of Hoffmann's fairy-tales. In the late autumn, when we were going back to Paris, he asked us to take with us on our furniture van an enormous stove-pipe, of which he promised to relieve us shortly. One very cold day Jadin actually presented himself at our new abode in Paris, in a most preposterous costume of his own manufacture, consisting of very thin light-yellow trousers, a very short pale-green dress-coat with conspicuously long tails, projecting lace shirt frills and cuffs, a very fair wig, and a hat so small that it was constantly dropping off; he wore in addition a quantity of imitation jewellery--and all this on the undisguised assumption that he could not go about in fashionable Paris dressed as simply as in the country. He had come for the stove-pipe; we asked him where the men to carry it were; in reply he simply smiled, and expressed his surprise at our helplessness; and thereupon took the enormous stove-pipe under his arm and absolutely refused to accept our help when we offered to assist him in carrying it down the stairs, though this operation, notwithstanding his vaunted skill, occupied him quite half an hour. Every one in the house assembled to witness this removal, but he was by no means disconcerted, and managed to get the pipe through the street door, and then tripped gracefully along the pavement with it, and disappeared from our sight.

For this short though eventful period, during which I was quite free to give full scope to my inmost thoughts, I indulged in the consolation of purely artistic creations. I can only say that, when it came to an end, I had made such progress that I could look forward with cheerful composure to the much longer period of trouble and distress I felt was in store for me. This, in fact, duly set in, for I had only just completed the last scene when I found that my five hundred francs were coming to an end, and what was left was not sufficient to secure me the necessary peace and freedom from worry for composing the overture; I had to postpone this until my luck should take another favourable turn, and meanwhile I was forced to engage in the struggle for a bare subsistence, making efforts of all kinds that left me neither leisure nor peace of mind. The concierge from the Rue du Helder brought us the news that the mysterious family to whom we had let our rooms had left, and that we were now once more responsible for the rent. I had to tell him that I would not under any circumstances trouble about the rooms any more, and that the landlord might recoup himself by the sale of the furniture we had left there. This was done at a very heavy loss, and the furniture, the greater part of which was still unpaid for, was sacrificed to pay the rent of a dwelling which we no longer occupied.

Under the stress of the most terrible privations I still endeavoured to secure sufficient leisure for working out the orchestration of the score of the Fliegender Hollander. The rough autumn weather set in at an exceptionally early date; people were all leaving their country houses for Paris, and, among them, the Avenarius family. We, however, could not dream of doing so, for we could not even raise the funds for the journey. When M. Jadin expressed his surprise at this, I pretended to be so pressed with work that I could not interrupt it, although I felt the cold that penetrated through the thin walls of the house very severely.

So I waited for help from Ernst Castel, one of my old Konigsberg friends, a well-to-do young merchant, who a short time before had called on us in Meudon and treated us to a luxurious repast in Paris, promising at the same time to relieve our necessities as soon as possible by an advance, which we knew was an easy matter to him.

By way of cheering us up, Kietz came over to us one day, with a large portfolio and a pillow under his arm; he intended to amuse us by working at a large caricature representing myself and my unfortunate adventures in Paris, and the pillow was to enable him, after his labours, to get some rest on our hard couch, which he had noticed had no pillows at the head. Knowing that we had a difficulty in procuring fuel, he brought with him some bottles of rum, to 'warm' us with punch during the cold evenings; under these circumstances I read Hoffmann's Tales to him and my wife.

At last I had news from Konigsberg, but it only opened my eyes to the fact that the gay young dog had not meant his promise seriously. We now looked forward almost with despair to the chilly mists of approaching winter, but Kietz, declaring that it was his place to find help, packed up his portfolio, placed it under his arm with the pillow, and went off to Paris. On the next day he returned with two hundred francs, that he had managed to procure by means of generous self-sacrifice. We at once set off for Paris, and took a small apartment near our friends, in the back part of No. 14 Rue Jacob. I afterwards heard that shortly after we left it was occupied by Proudhon.

We got back to town on 30th October. Our home was exceedingly small and cold, and its chilliness in particular made it very bad for our health. We furnished it scantily with the little we had saved from the wreck of the Rue du Holder, and awaited the results of my efforts towards getting my works accepted and produced in Germany. The first necessity was at all costs to secure peace and quietness for myself for the short time which I should have to devote to the overture of the Fliegender Hollander; I told Kietz that he would have to procure the money necessary for my household expenses until this work was finished and the full score of the opera sent off. With the aid of a pedantic uncle, who had lived in Paris a long time and who was also a painter, he succeeded in providing me with the necessary assistance, in instalments of five or ten francs at a time. During this period I often pointed with cheerful pride to my boots, which became mere travesties of footgear, as the soles eventually disappeared altogether.

As long as I was engaged on the Dutchman, and Kietz was looking after me, this made no difference, for I never went out: but when I had despatched my completed score to the management of the Berlin Court Theatre at the beginning of December, the bitterness of the position could no longer be disguised. It was necessary for me to buckle to and look for help myself.

What this meant in Paris I learned just about this time from the hapless fate of the worthy Lehrs. Driven by need such as I