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

had been made through Standhartner's mediation, that the management should pay me a part of the stipulated fee for Tristan, would be a great help in this. But as I was only to get one thousand marks, and even this was to be subject to so many clauses and conditions as to suggest a desire to renounce the whole transaction, I at once rejected the offer. This fact, however, did not prevent the press, which was always in touch with the theatrical management, from publishing that I had accepted an indemnity for the non- performance of Tristan. Fortunately I was able to protest against this calumny by producing proof of what I had actually done in the matter. Meanwhile, the negotiations with Schott dragged out to some length, because I would not agree at present to his suggestions about the Walkure. I adhered to my first offer of a new opera, the Meistersinger, and at last received three thousand marks as an instalment on this work. As soon as I had received the cheque, I packed up my things, when a telegram from Princess Metternich reached me, in which she begged of me to put off my departure until the 1st of January. I decided not give up my plan, being anxious to get away from Vienna, so I determined to go straight to Mayence to pursue further negotiations with Schott. My leavetaking at the station was made particularly gay by Cornelius, who whispered to me with mysterious enthusiasm a stanza of 'Sachs' which I had communicated to him. This was the verse:

'Der Vogel der heut' sang, Dem war der Schnabel hold gewachsen; Ward auch den Meistern dabei bang, Gar wohl gefiel er doch Hans Sachsen.' [Footnote: 'The bird who sang this morn From Nature's self had learned his singing; Masters that song may scorn, For aye Hans Sachs will hear it singing.' (Translation of the Meistersinger, by Frederick Jameson.)--Editor.]

In Mayence I got to know the Schott family, with whom I had only had a casual acquaintance in Paris, more intimately. The young musician Weisheimer, who was just then beginning his career as musical director at the local theatre, was a daily visitor at their house. At one of our dinners another young man, Stadl, a lawyer, proposed a remarkable toast in my honour in a most eloquent and astonishing speech. Notwithstanding all this I had to recognise that in Franz Schott I was dealing with a very singular man, and our negotiations proceeded with extraordinary difficulty. I insisted emphatically on carrying out my first proposal, namely, that he should provide me for two successive years with funds necessary for the undisturbed execution of my work. He excused his unwillingness to do this by pretending it was painful to his feelings to drive a bargain with a man like myself by purchasing my work for a certain sum of money, including also the profits of my author's rights in the theatrical performances; that, in a word, he was a music publisher, and did not want to be anything else. I represented to him that he need only advance me the necessary amount in proper form, and that I would guarantee him the repayment of that proportion of it which might be considered due payment for the literary property, out of my future theatrical takings, which would thus be his security.

After a long time he agreed to make advances on 'musical compositions still to be delivered,' and to this suggestion I gladly acceded, insisting, however, that I must be able to depend on a total gradual payment of twenty thousand francs. As, after settling my Vienna hotel bill, I was in immediate want of money, Schott gave me a draft on Paris. From that city I now received a letter from Princess Metternich, which mystified me, inasmuch as it merely announced the sudden death of her mother, Countess Sandor, and the consequent change in her family circumstances. Once more I deliberated whether it would not be better, after all, to take at random a modest lodging in or near Karlsruhe, which in time might develop into a peaceful and permanent dwelling. Owing to my difficulty in providing Minna's allowance, which according to our agreement was three thousand marks a year, it struck me as more reasonable and certainly more economical to ask my wife to share my home. But a letter which just then reached me from her, and the main contents of which were nothing less than an attempt to incite me against my own friends, scared me away from any thought of reunion with her, and determined me to adhere to my Paris plans and keep as far away from her as possible.

So towards the middle of December I started for Paris, where I alighted at the dingy-looking Hotel Voltaire, situated on the quay of the same name, and took a very modest room with a pleasant outlook. Here I wished to remain unrecognised (preparing myself meanwhile for my work) until I could present myself to Princess Metternich at the beginning of the new year, according to her wish. In order not to embarrass the Metternich's friends, Pourtales and Hatzfeld, I pretended that I was not in Paris, and looked up only those of my old acquaintances who did not know these gentlemen, such as Truinet, Gasperini, Flaxland, and the painter Czermak. I met Truinet and his father regularly at supper time in the Taverne Anglaise, to which I used to make my way unobserved through the streets at dusk. One day, on opening one of the papers there I read the news of the death of Count Pourtales. My grief was great, and I felt particularly sorry that, out of my singular regard for the Metternichs, I had neglected to visit this man who had been a real friend to me. I at once called on Count Hatzfeld, who confirmed the sad news and told me the circumstances of the sudden death, which was the result of heart disease, the existence of which the doctor had not discovered till the very last moment. At the same time I learned the true significance of the events which had taken place at the Hotel Metternich. The death of Countess Sandor, of which Princess Pauline had informed me, had produced the following developments: the Count, who was the famous Hungarian madman, had up to that time, in the general interest of the family, been strictly guarded by his wife as an invalid. At her death the family lived in fear of the most terrible disturbances from her husband, now no longer under control, and the Metternichs therefore thought it necessary to take him at once to Paris, and keep him there under proper supervision. For that purpose the Princess found that the only suitable suite of apartments at her command was the one previously offered to me. I at once saw it was useless to think any more of taking up my residence at the Austrian embassy, and I was left to reflect on the strange freak of fortune that had again cast me adrift in this ill-omened Paris.

At first the only course open to me was to stay in my inexpensive lodging in the Hotel Voltaire until I had finished the libretto of the Meistersinger, and meanwhile set to work to find the refuge so earnestly sought for the completion of my new work. It was not an easy matter; my name and person, which everybody involuntarily regarded in the doubtful light of my Paris failure, seemed surrounded by a cloud of mist, which made me unrecognisable even to my old friends. The Olliviers also appeared to receive me with an air of distrust; at any rate, they thought it very strange to see me again so soon in Paris. I was obliged to explain the extraordinary circumstances that had brought me back, and told them that I did not contemplate a long stay. Apart from this probably deceptive impression, I soon noticed the great change that had taken place in the home life of the family. The grandmother was laid up with a broken leg, which at her age was incurable. Ollivier had taken her into his very small flat for more efficient nursing and care, and we all met for dinner at her bedside in the tiny room. Blandine had greatly changed since the previous summer, and wore a sad and serious expression, and I fancied that she was enceinte. Emile, although dry and superficial, was the only one who gave me any sound advice. When the fellow Lindau sent me a letter through his lawyer demanding the compensation awarded him by the law for his imaginary co-operation in the translation of Tannhauser, all that Emile said on reading the letter was, 'Ne repondez pas,' and his advice proved as useful as it was easy to follow, for I never heard anything more of the matter. I sorrowfully made up my mind not to trouble Ollivier any more, and it was with an inexpressibly sad look that Blandine and I parted.

With Czermak, on the other hand, I entered into almost daily intercourse. I used to join him and the Truinet family of an evening at the Taverne Angiaise, or some other equally cheap restaurants which we hunted out. Afterwards we generally went to one of the smaller theatres, which, owing to pressure of work, I had not troubled about on my former visits. The best of them all was the Gymnase, where all the pieces were good and played by an excellent company. Of these pieces a particularly tender and touching one-act play called Je dine chez ma Mere remains in my memory. In the Theatre du Palais Royal, where things were not now so refined as formerly, and also in the Theatre Dejazet, I recognised the prototypes of all the jokes with which, in spite of poor elaboration and unsuitable localisation, the German public is being entertained all the year round. Besides this I occasionally dined with the Flaxland family, who still refused to despair of my eventual success with the Parisians. For the present my Paris publisher continued to issue the Fliegender Hollander as well as Rienzi, for which he paid me tifleen hundred francs as a small fee, which I had not bargained for on the first edition.

The cause of the almost cheerful complacency with which I managed to regard my adverse situation in Paris, and which enabled me afterwards to look back on it as a pleasant memory, was that my libretto of the Meistersinger daily increased its swelling volume of rhyme. How could I help being filled with facetious thoughts, when on raising my eyes from the paper, after meditating upon the quaint verses and sayings of my Nuremberg Meistersinger, I gazed from the third-floor window of my hotel on the tremendous crowds passing along the quays and over the numerous bridges, and enjoyed a prospect embracing the Tuileries, the Louvre, and even the Hotel de Ville!

I had already got far on into the first act when the momentous New Year's Day of 1862 arrived, and I paid my long-delayed visit to Princess Metternich. I found her very naturally embarrassed, but I quite cheerfully accepted her assurances of regret at being obliged to withdraw her invitation owing to circumstances with which I was already acquainted, and I did my utmost to reassure her. I also begged Count Hatzfeld to inform me when Countess Pourtales would feel equal to receiving me.

Thus through the whole month of January I continued working on the Meistersinger libretto, and completed it in exactly thirty days. The melody for the fragment of Sachs's poem on the Reformation, with which I make my characters in the last act greet their beloved master, occurred to me on the way to the Taverne Anglaise, whilst strolling through the galleries of the Palais Royal. There