1842-1850

The dreamy unreality of my state of mind at this time is best explained by the apparent seriousness with which, on meeting Liszt again, I at once began to discuss what seemed to be the sole topic of any real interest to him in connection with me—the forthcoming revival of Tannhäuser at Weimar. I found it very difficult to confess to this friend that I had not left Dresden in the regulation way for a conductor of the royal opera. To tell the truth, I had a very hazy conception of the relation in which I stood to the law of my country (in the narrow sense). Had I done anything criminal in the eye of the law or not? I found it impossible to come to any conclusion about it. Meanwhile, alarming news of the terrible conditions in Dresden continued to pour into Weimar. Genast, the stage manager, in particular, aroused great excitement by spreading the report that Röckel, who was well known at Weimar, had been guilty of arson. Liszt must soon have gathered from my conversation, in which I did not take the trouble to dissimulate, that I too was suspiciously connected with these terrible events, though my attitude with regard to them misled him for some time. For I was not by any means prepared to proclaim myself a combatant in the recent fights, and that for reasons quite other than would have seemed valid in the eyes of the law. My friend was therefore encouraged in his delusion by the unpremeditated effect of my attitude. When we met at the house of Princess Caroline of Wittgenstein, to whom I had been introduced the year before when she paid her flying visit to Dresden, we were able to hold stimulating conversations on all sorts of artistic topics. One afternoon, for instance, a lively discussion sprang up from a description I had given of a tragedy to be entitled Jesus of Nazareth. Liszt maintained a discreet silence after I had finished, whereas the Princess protested vigorously against my proposal to bring such a subject on to the stage. From the lukewarm attempt I made to support the paradoxical theories I had put forward, I realised the state of my mind at that time. Although it was not very evident to onlookers, I had been, and still was, shaken to the very depths of my being by my recent experiences.

In due course an orchestral rehearsal of Tannhäuser took place, which in various ways stimulated the artist in me afresh. Liszt’s conducting, though mainly concerned with the musical rather than the dramatic side, filled me for the first time with the flattering warmth of emotion roused by the consciousness of being understood by another mind in full sympathy with my own. At the same time I was able, in spite of my dreamy condition, to observe critically the standard of capacity exhibited by the singers and their chorus-master. After the rehearsal I, together with the musical director, Stohr, and Götze the singer, accepted Liszt’s invitation to a simple dinner, at a different inn from the one where he lived. I thus had occasion to take alarm at a trait in his character which was entirely new to me. After being stirred up to a certain pitch of excitement his mood became positively alarming, and he almost gnashed his teeth in a passion of fury directed against a certain section of society which had also aroused my deepest indignation. I was strongly affected by this strange experience with this wonderful man, but I was unable to see the association of ideas which had led to his terrible outburst. I was therefore left in a state of amazement, while Liszt had to recover during the night from a violent attack of nerves which his excitement had produced. Another surprise was in store for me the next morning, when I found my friend fully equipped for a journey to Karlsruhe—the circumstances which made it necessary being absolutely incomprehensible to me. Liszt invited Director Stohr and myself to accompany him as far as Eisenach. On our way there we were stopped by Beaulieu, the Lord Chamberlain, who wished to know whether I was prepared to be received by the Grand Duchess of Weimar, a sister of the Emperor Nicolas, at Eisenach castle. As my excuse on the score of unsuitable travelling costume was not admitted, Liszt accepted in my name, and I really met with a surprisingly kind reception that evening from the Grand Duchess, who chatted with me in the friendliest way, and introduced me to her chamberlain with all due ceremony. Liszt maintained afterwards that his noble patroness had been informed that I should be wanted by the authorities in Dresden within the next few days, and had therefore hastened to make my personal acquaintance at once, knowing that it would compromise her too heavily later on.

Liszt continued his journey from Eisenach, leaving me to be entertained and looked after by Stohr and the musical director Kuhmstedt, a diligent and skilful master of counterpoint with whom I paid my first visit to the Wartburg, which had not then been restored. I was filled with strange musings as to my fate when I visited this castle. Here I was actually on the point of entering, for the first time, the building which was so full of meaning for me; here, too, I had to tell myself that the days of my further sojourn in Germany were numbered. And in fact the news from Dresden, when we returned to Weimar the next day, was serious indeed. Liszt, on his return on the third day, found a letter from my wife, who had not dared to write direct to me. She reported that the police had searched my house in Dresden, to which she had returned, and that she had, moreover been warned on no account to allow me to return to that city, as a warrant had been taken out against me, and I was shortly to be served with a writ and arrested. Liszt, who was now solely concerned for my personal safety, called in a friend who had some experience of law, to consider what should be done to rescue me from the danger that threatened me. Von Watzdorf, the minister whom I had already visited, had been of opinion that I should, if required, submit quietly to being taken to Dresden, and that the journey would be made in a respectable private carriage. On the other hand, reports which had reached us of the brutal way in which the Prussian troops in Dresden had gone to work in applying the state of siege were of so alarming a nature that Liszt and his friends in council urged my speedy departure from Weimar, where it would be impossible to protect me. But I insisted on taking leave of my wife, whose anxiety was great, before leaving Germany, and begged to be allowed to stay a little longer at least in the neighbourhood of Weimar. This was taken into consideration, and Professor Siebert suggested my taking temporary shelter with a friendly steward at the village of Magdala, which was three hours distant. I drove there the following morning to introduce myself to this kind steward and protector as Professor Werder from Berlin, who, with a letter of recommendation from Professor Siebert, had come to turn his financial studies to practical account in helping to administer these estates. Here in rural seclusion I spent three days, entertainment of a peculiar nature being provided by the meeting of a popular assembly, which consisted of the remainder of the contingent of revolutionaries which had marched off towards Dresden and had now returned in disorder. I listened with curious feelings, amounting almost to contempt, to the speeches on this occasion, which were of every kind and description. On the second day of my stay my host’s wife came back from Weimar (where it was market-day) full of a curious tale: the composer of an opera which was being performed there on that very day had been obliged to leave Weimar suddenly because the warrant for his arrest had arrived from Dresden. My host, who had been let into my secret by Professor Seibert, asked playfully what his name was. As his wife did not seem to know, he came to her assistance with the suggestion that perhaps it was Röckel whose name was familiar at Weimar.

‘Yes,’ she said, ‘Röckel, that was his name, quite right.’

My host laughed loudly, and said that he would not be so stupid as to let them catch him, in spite of his opera.

At last, on 22nd May, my birthday, Minna actually arrived at Magdala. She had hastened to Weimar on receiving my letter, and had proceeded from there according to instructions, bent on persuading me at all costs to flee the country immediately and for good. No attempt to raise her to the level of my own mood was successful; she persisted in regarding me as an ill-advised, inconsiderate person who had plunged both himself and her into the most terrible situation. It had been arranged that I should meet her the next evening in the house of Professor Wolff at Jena to take a last farewell. She was to go by way of Weimar, while I took the footpath from Magdala. I started accordingly on my walk of about six hours, and came over the plateau into the little university town (which now received me hospitably for the first time) at sunset. I found my wife again at the house of Professor Wolff, who, thanks to Liszt, was already my friend, and with the addition of a certain Professor Widmann another conference was held on the subject of my further escape. A writ was actually out against me for being strongly suspected of participation in the Dresden rising, and I could not under any circumstances depend on a safe refuge in any of the German federal states. Liszt insisted on my going to Paris, where I could find a new field for my work, while Widmann advised me not to go by the direct route through Frankfort and Baden, as the rising was still in full swing there, and the police would certainly exercise praiseworthy vigilance over incoming travellers with suspicious-looking passports. The way through Bavaria would be the safest, as all was quiet there again; I could then make for Switzerland, and the journey to Paris from there could be engineered without any danger. As I needed a passport for the journey, Professor Widmann offered me his own, which had been issued at Tubingen and had not been brought up to date. My wife was quite in despair, and the parting from her caused me real pain. I set off in the mail-coach and travelled, without further hindrance, through many towns (amongst them Rudolstadt, a place full of memories for me) to the Bavarian frontier. From there I continued my journey by mail-coach straight to Lindau. At the gates I, together with the other passengers, was asked for my passport. I passed the night in a state of strange, feverish excitement, which lasted until the departure of the steamer on Lake Constance early in the morning. My mind was full of the Swabian dialect, as spoken by Professor Widmann, with whose passport I was travelling. I pictured to myself my dealings with the Bavarian police should I have to converse with them in accordance with the above-mentioned irregularities in that document. A prey to feverish unrest, I spent the whole night trying to perfect myself in the Swabian dialect, but, as I was amused to find, without the smallest success. I had braced myself to meet the crucial moment early the next morning, when the policeman came into my room and, not knowing to whom the passports belonged, gave me three at random to choose from. With joy in my heart I seized my own, and dismissed the dreaded messenger in the most friendly way. Once on board the steamer I realised with true satisfaction that I had now stepped on to Swiss territory. It was a lovely spring morning; across the broad lake I could gaze at the Alpine landscape as it spread itself before my eyes. When I stepped on to Republican soil at Rorschach, I employed the first moments in writing a few lines home to tell of my safe arrival in Switzerland and my deliverance from all danger. The coach drive through the pleasant country of St. Gall to Zürich cheered me up wonderfully, and when I drove down from Oberstrass into Zürich that evening, the last day in May, at six o’clock, and saw for the first time the Glarner Alps that encircle the lake gleaming in the sunset, I at once resolved, though without being fully conscious of it, to avoid everything that could prevent my settling here.

I had been the more willing to accept my friends’ suggestion to take the Swiss route to Paris, as I knew I should find an old acquaintance, Alexander Muller, at Zürich. I hoped with his help to obtain a passport to France, as I was anxious not to arrive there as a political refugee. I had been on very friendly terms with Muller once upon a time at Wurzburg. He had been settled at Zürich for a long time as a teacher of music; this I learned from a pupil of his, Wilhelm Baumgartner, who had called on me in Dresden some years back to bring me a greeting from this old friend. On that occasion I entrusted the pupil with a copy of the score of Tannhäuser for his master, by way of remembrance, and this kind attention had not fallen on barren soil: Muller and Baumgartner, whom I visited forthwith, introduced me at once to Jacob Sulzer and Franz Hagenbuch, two cantonal secretaries who were the most likely, among all their good friends, to compass the immediate fulfilment of my desire. These two people, who had been joined by a few intimates, received me with such respectful curiosity and sympathy that I felt at home with them at once. The great assurance and moderation with which they commented on the persecutions which had overtaken me, as seen from their usual simple republican standpoint, opened to me a conception of civil life which seemed to lift me to an entirely new sphere. I felt so safe and protected here, whereas in my own country I had, without quite realising it, come to be considered a criminal owing to the peculiar connection between my disgust at the public attitude towards art and the general political disturbances. To prepossess the two secretaries entirely in my favour (one of them, Sulzer, had enjoyed an excellent classical education), my friends arranged a meeting one evening at which I was to read my poem on the Death of Siegfried. I am prepared to swear that I never had more attentive listeners, among men, than on that evening. The immediate effect of my success was the drawing up of a fully valid federal passport for the poor German under warrant of arrest, armed with which I started gaily on my journey to Paris after quite a short stay at Zürich. From Strassburg, where I was enthralled by the fascination of the world-famous minster, I travelled towards Paris by what was then the best means of locomotion, the so-called malle-poste. I remember a remarkable phenomenon in connection with this conveyance. Till then the noise of the cannonade and musketry in the fighting at Dresden had been persistently re-echoing in my ears, especially in a half-waking condition; now the humming of the wheels, as we rolled rapidly along the highroad, cast such a spell upon me that for the whole of the journey I seemed to hear the melody of Freude, schöner Götterfunken^[17] from the Ninth Symphony being played, as it were, on deep bass instruments.

[17] See note on page 486.

From the time of my entering Switzerland till my arrival in Paris my spirits, which had sunk into a dreamlike apathy, rose gradually to a level of freedom and comfort that I had never enjoyed before. I felt like a bird in the air whose destiny is not to founder in a morass; but soon after my arrival in Paris, in the first week of June, a very palpable reaction set in. I had had an introduction from Liszt to his former secretary Belloni, who felt it his duty, in loyalty to the instructions received, to put me into communication with a literary man, a certain Gustave Vaisse, with the object of being commissioned to write an opera libretto for production in Paris. I did not, however, make the personal acquaintance of Vaisse. The idea did not please me, and I found sufficient excuse for warding off the negotiations by saying I was afraid of the epidemic of cholera which was said to be raging in the city. I was staying in the Rue Notre Dame de Lorette for the sake of being near Belloni. Through this street funeral processions, announced by the muffled drum boats of the National Guard, passed practically every hour. Though the heat was stifling, I was strictly forbidden to touch water, and was advised to exercise the greatest precaution with regard to diet in every respect. Besides this weight of uneasiness on my spirits, the whole outward aspect of Paris, as it then appeared, had the most depressing effect on me. The motto, liberte, egalite, fraternite was still to be seen on all the public buildings and other establishments, but, on the other hand, I was alarmed at seeing the first garcons caissiers making their way from the bank with their long money-sacks over their shoulders and their large portfolios in their hands. I had never met them so frequently as now, just when the old capitalist regime, after its triumphant struggle against the once dreaded socialist propaganda, was exerting itself vigorously to regain the public confidence by its almost insulting pomp. I had gone, as it were, mechanically into Schlesinger’s music-shop, where a successor was now installed—a much more pronounced type of Jew named Brandus, of a very dirty appearance. The only person there to give me a friendly welcome was the old clerk, Monsieur Henri. After I had talked to him in loud tones for some time, as the shop was apparently empty, he at length asked me with some embarrassment whether I had not seen my master (votre maître) Meyerbeer.

‘Is Monsieur Meyerbeer here?’ I asked.

‘Certainly,’ was the even more embarrassed reply; ‘quite near, over there behind the desk.’

And, sure enough, as I walked across to the desk Meyerbeer came out, covered with confusion. He smiled and made some excuse about pressing proof-sheets. He had been hiding there quietly for over ten minutes since first hearing my voice. I had had enough after my strange encounter with this apparition. It recalled so many things affecting myself which reflected suspicion on the man, in particular the significance of his behaviour towards me in Berlin on the last occasion. However, as I had now nothing more to do with him, I greeted him with a certain easy gaiety induced by the regret I felt at seeing his manifest confusion on becoming cognisant of my arrival in Paris. He took it for granted that I should again seek my fortune there, and seemed much surprised when I assured him, on the contrary, that the idea of having any work there was odious to me.

‘But Liszt published such a brilliant article about you in the Journal des Débats,’ he said.

‘Ah,’ I replied, ‘it really had not occurred to me that the enthusiastic devotion of a friend should be regarded as a mutual speculation.’

‘But the article made a sensation. It is incredible that you should not seek to make any profit out of it.’

This offensive meddlesomeness roused me to protest to Meyerbeer with some violence that I was concerned with anything rather than with the production of artistic work, particularly just at that time when the course of events seemed to indicate that the whole world was undergoing a reaction.

‘But what do you expect to get out of the revolution?’ he replied. ‘Are you going to write scores for the barricades?’

Whereupon I assured him that I was not thinking of writing any scores at all. We parted, obviously without having arrived at a mutual understanding.

In the street I was also stopped by Moritz Schlesinger, who, being equally under the influence of Liszt’s brilliant article, evidently considered me a perfect prodigy. He too thought I must be counting on making a hit in Paris, and was sure that I had a very good chance of doing so.

‘Will you undertake my business?’ I asked him. ‘I have no money. Do you really think the performance of an opera by an unknown composer can be anything but a matter of money?’

‘You are quite right,’ said Moritz, and left me on the spot.

I turned from these disagreeable encounters in the plague-stricken capital of the world to inquire the fate of my Dresden companions, for some of those with whom I was intimate had also reached Paris, when I called on Desplechins, who had painted the scenery for Tannhäuser. I found Semper there, who had, like myself, been deposited in this city. We met again with no little pleasure, although we could not help smiling at our grotesque situation. Semper had retired from the battle when the famous barricade, which he in his capacity of architect kept under close observation, had been surrounded. (He thought it impossible for it to be captured.) All the same, he considered that he had exposed himself quite sufficiently to make it state of siege and were occupying Dresden. He considered himself lucky as a native of Holstein to be dependent, not on the German, but on the Danish government for a passport, as this had helped him to reach Paris without difficulty. When I expressed my real and heartfelt regret at the turn of affairs which had torn him from a professional undertaking on which he had just started—the completion of the Dresden Museum—he refused to take it too seriously, saying it had given him a great deal of worry. In spite of our trying situation, it was with Semper that I spent the only bright hours of my stay in Paris. We were soon joined by another refugee, young Heine, who had once wished to paint my Lohengrin scenery. He had no qualms about his future, for his master Desplechins was willing to give him employment. I alone felt I had been pitched quite aimlessly into Paris. I had a passionate desire to leave this cholera-laden, atmosphere, and Belloni offered me an opportunity which I promptly and joyfully seized. He invited me to follow himself and his family to a country place near La Ferte-sous-Jouarre, where I could be refreshed by pure air and absolute quiet, and wait for a change for the better in my position. I made the short journey to Rueil after another week in Paris, and took for the time being a poor lodging (one room, built with recesses) in the house of Monsieur Raphael, a wine merchant, close by the village mairie where the Belloni family were staying. Here I waited further developments. During the period when all news from Germany ceased I tried to occupy myself as far as possible with reading. After going through Proudhon’s writings, and in particular his De la propriete, in such a manner as to glean comfort for my situation in curiously divers ways, I entertained myself for a considerable time with Lamartine’s Histoire des Girondins, a most alluring and attractive work. One day Belloni brought me news of the unfortunate rising in Paris, which had been attempted on the 13th June by the Republicans under Ledru-Rollin against the provisional government, which was then in the full tide of reaction. Great as was the indignation with which the news was received by my host and the mayor of the place (a relative of his, at whose table we ate our modest daily meal), it made, on the whole, little impression on me, as my attention was still fixed in great agitation on the events which were taking place on the Rhine, and particularly on the grand-duchy of Baden, which had been made forfeit to a provisional government. When, however, the news reached me from this quarter also that the Prussians had succeeded in subduing a movement which had not at first seemed hopeless, I felt extraordinarily downcast.

I was compelled to consider my position carefully, and the necessity of conquering my difficulties helped to allay the excitement to which I was a prey. The letters from my Weimar friends, as well as those from my wife, now brought me completely to my senses. The former expressed themselves very curtly about my behaviour with regard to recent events. The opinion was, that for the moment there would be nothing for me to do, and especially not in Dresden, or at the grand-ducal court, ‘as one could not very well knock at battered doors’; ‘on ne frappe pas a des portes enfoncees’ (Princess von Wittgenstein to Belloni).

I did not know what to reply, for I had never dreamt of expecting anything to come from their intervening on my behalf in that quarter; consequently I was quite satisfied that they sent me temporarily financial assistance. With this money I made up my mind to leave for Zürich and ask Alex Muller to give me shelter for a while, as his house was sufficiently large to accommodate a guest. My saddest moment came when, after a long silence, I at last received a letter from my wife. She wrote that she could not dream of living with me again; that after I had so unscrupulously thrown away a connection and position, the like of which would never again present itself to me, no woman could reasonably be expected to take any further interest in my future enterprises.

I fully appreciated my wife’s unfortunate position; I could in no way assist her, except by advising her to sell our Dresden furniture, and by making an appeal on her behalf to my relatives in Leipzig.

Until then I had been able to think more lightly of the misery of her position, simply because I had imagined her to be more deeply in sympathy with what agitated me. Often during the recent extraordinary events I had even believed that she understood my feelings. Now, however, she had disillusioned me on this point: she could see in me no more than what the public saw, and the one redeeming point of her severe judgment was that she excused my behaviour on the score that I was reckless. After I had begged Liszt to do what he could for my wife, I soon began to regard her unexpected behaviour with more equanimity. In reply to her announcement that she would not write to me again for the present, I said that I had also resolved to spare her all further anxiety about my very doubtful fate, by ceasing from communicating with her. I surveyed the panorama of our long years of association critically in my mind’s eye, beginning with that first stormy year of our married life, that had been so full of sorrow. Our youthful days of worry and care in Paris had undoubtedly been of benefit to us both. The courage and patience with which she had faced our difficulties, while I on my part had tried to end them by dint of hard work, had linked us together with bonds of iron. Minna was rewarded for all these privations by Dresden successes, and more especially by the highly enviable position I had held there. Her position as wife of the conductor (Frau Kapellmeisterin) had brought her the fulfilment of her dearest wishes, and all those things which conspired to make my work in this official post so intolerable to me, were to her no more than so many threats directed against her smug content. The course I had adopted with regard to Tannhäuser had already made her doubtful of my success at the theatres, and had robbed her of all courage and confidence in our future. The more I deviated from the path which she regarded as the only profitable one, due partly to the change of my views (which I grew ever less willing to communicate to her), and partly to the modification in my attitude towards the stage, the more she retreated from that position of close fellowship with me which she had enjoyed in former years, and which she thought herself justified in connecting in some way with my successes.

She looked upon my conduct with regard to the Dresden catastrophe as the outcome of this deviation from the right path, and attributed it to the influence of unscrupulous persons (particularly the unfortunate Röckel), who were supposed to have dragged me with them to ruin, by appealing to my vanity. Deeper than all these disagreements, however, which, after all, were concerned only with external circumstances, was the consciousness of our fundamental incompatibility, which to me had become ever more and more apparent since the day of our reconciliation. From the very beginning we had had scenes of the most violent description: never once after these frequent quarrels had she admitted herself in the wrong or tried to be friends again.

The necessity of speedily restoring our domestic peace, as well as my conviction (confirmed by every one of her extravagant outbursts) that, in view of the great disparity of our characters and especially of our educations, it devolved upon me to prevent such scenes by observing great caution in my behaviour, always led me to take the entire blame for what had happened upon myself, and to mollify Minna by showing her that I was sorry. Unfortunately, and to my intense grief, I was forced to recognise that by acting in this way I lost all my power over her affections, and especially over her character. Now we stood in a position in which I could not possibly resort to the same means of reconciliation, for it would have meant my being inconsistent in all my views and actions. And then I found myself confronted by such hardness in the woman whom I had spoilt by my leniency, that it was out of the question to expect her to acknowledge the injustice done to myself. Suffice it to say that the wreck of my married life had contributed not inconsiderably to the ruin of my position in Dresden, and to the careless manner in which I treated it, for instead of finding help, strength, and consolation at home, I found my wife unwittingly conspiring against me, in league with all the other hostile circumstances which then beset me. After I had got over the first shock of her heartless behaviour, I was absolutely clear about this. I remember that I did not suffer any great sorrow, but that on the contrary, with the conviction of being now quite helpless, an almost exalted calm came over me when I realised that up to the present my life had been built on a foundation of sand and nothing more. At all events, the fact that I stood absolutely alone did much towards restoring my peace of mind, and in my distress I now found strength and comfort even in the fact of my dire poverty. At last assistance arrived from Weimar. I accepted it eagerly, and it was the means of extricating me from my present useless life and stranded hopes.

My next move was to find a place of refuge—one, however, which had but little attraction for me, seeing that in it there was not the slightest hope of my being able to make any further headway in the paths along which I had hitherto progressed. This refuge was Zürich, a town devoid of all art in the public sense, and where for the first time I met simple-hearted people who knew nothing about me as a musician, but who, as it appeared, felt drawn towards me by the power of my personality alone. I arrived at Muller’s house and asked him to let me have a room, at the same time giving him what remained of my capital, namely twenty francs. I quickly discovered that my old friend was embarrassed by my perfectly open confidence in him, and that he was at his wit’s end to know what to do with me. I soon gave up the large room containing a grand piano, which he had allotted to me on the impulse of the moment, and retired to a modest little bedroom. The meals were my great trial, not because I was fastidious, but because I could not digest thorn. Outside my friend’s house, on the contrary, I enjoyed what, considering the habits of the locality, was the most luxurious reception. The same young men who had been so kind to me on my first journey through Zürich again showed themselves anxious to be continually in my company, and this was especially the case with one young fellow called Jakob Sulzer. He had to be thirty years of age before he was entitled to become a member of the Zürich government, and he therefore still had several years to wait. In spite of his youth, however, the impression he made on all those with whom he came in contact was that of a man of riper years, whose character was formed. When I was asked long afterwards whether I had ever met a man who, morally speaking, was the beau-ideal of real character and uprightness, I could, on reflection, think of none other than this newly gained friend, Jakob Sulzer.

He owed his early appointment as permanent Cantonal Secretary (Staatsschreiber), one of the most excellent government posts in the canton of Zürich, to the recently returned liberal party, led by Alfred Escher. As this party could not employ the more experienced members of the older conservative side in the public offices, their policy was to choose exceptionally gifted young men for these positions. Sulzer showed extraordinary promise, and their choice accordingly soon lighted on him. He had only just returned from the Berlin and Bonn universities with the intention of establishing himself as professor of philology at the university in his native town, when he was made a member of the new government. To fit himself for his post he had to stay in Geneva for six months to perfect himself in the French language, which he had neglected during his philological studies. He was quick-witted and industrious, as well as independent and firm, and he never allowed himself to be swayed by any party tactics. Consequently he rose very rapidly to high positions in the government, to which he rendered valuable and important services, first as Minister of Finance, a post he held for many years, and later with particular distinction as member of the School Federation. His unexpected acquaintance with me seemed to place him in a sort of dilemma; from the philological and classical studies which he had entered upon of his own choice, he suddenly found himself torn away in the most bewildering manner by this unexpected summons from the government. It almost seemed as if his meeting with me had made him regret having accepted the appointment. As he was a person of great culture, my poem, Siegfried’s Death, naturally revealed to him my knowledge of German antiquity. He had also studied this subject, but with greater philological accuracy than I could possibly have aspired to. When, later on, he became acquainted with my manner of writing music, this peculiarly serious and reserved man became so thoroughly interested in my sphere of art, so far removed from his own field of labour, that, as he himself confessed, he felt it his duty to fight against these disturbing influences by being intentionally brusque and curt with me. In the beginning of my stay in Zürich, however, he delighted in being led some distance astray in the realms of art. The old-fashioned official residence of the first Cantonal Secretary was often the scene of unique gatherings, composed of people such as I would be sure to attract. It might even be said that these social functions occurred rather more frequently than was advisable for the reputation of a civil servant of this little philistine state. What attracted the musician Baumgartner more particularly to these meetings was the product of Sulzer’s vineyards in Winterthur, to which our hosts treated his guests with the greatest liberality. When in my moods of mad exuberance I gave vent in dithyrambic effusions to my most extreme views on art and life, my listeners often responded in a manner which, more often than not, I was perfectly right in ascribing to the effects of the wine rather than to the power of my enthusiasm. Once when Professor Ettmuller, the Germanist and Edda scholar, had been invited to listen to a reading of my Siegfried and had been led home in a state of melancholy enthusiasm, there was a regular outburst of wanton spirits among those who had remained behind. I conceived the absurd idea of lifting all the doors of the state official’s house off their hinges.

Herr Hagenbuch, another servant of the state, seeing what exertion this cost me, offered me the help of his gigantic physique, and with comparative ease we succeeded in removing every single door, and laying it aside, a proceeding at which Sulzer merely smiled good-naturedly. The next day, however, when we made inquiries, he told us that the replacing of those doors (which must have been a terrible strain on his delicate constitution) had taken him the whole night, as he had made up his mind to keep the knowledge of our orgies from the sergeant, who always arrived at a very early hour in the morning.

The extraordinary birdlike freedom of my existence had the effect of exciting me more and more. I was often frightened at the excessive outbursts of exaltation to which I was prone—no matter whom I was with—and which led me to indulge in the most extraordinary paradoxes in my conversation. Soon after I had settled in Zürich I began to write down my various ideas about things at which I had arrived through my private and artistic experiences, as well as through the influence of the political unrest of the day. As I had no choice but to try, to the best of my ability, to earn something by my pen, I thought of sending a series of articles to a great French journal such as the National, which in those days was still extant. In these articles I meant to propound my ideas (in my revolutionary way) on the subject of modern art in its relation to society. I sent six of them to an elderly friend of mine, Albert Franck, requesting him to have them translated into French and to get them published. This Franck was the brother of the better-known Hermann Franck, now the head of the Franco-German bookselling firm, which had originally belonged to my brother-in-law, Avenarius. He sent me back my work with the very natural remark that it was out of the question to expect the Parisian public to understand or appreciate my articles, especially at such a critical moment.