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352 circumstances for the most part, but warm-hearted and impulsive. In such circles Wagner found congenial associates. 'I met with many proofs of true friendship in Paris' and the words may be taken to explain how it was that he and his 'bildhübsche kleine Frau' did not actually starve during that first winter. The dog was stolen before they left the Rue de la Tonnellerie.

Having no immediate prospects, he set to work to complete the music to 'Rienzi,' and for its ultimate performance cast his eye on Dresden, where his name might be supposed to have some little weight. On Nov. 19 the score was completed, and on Dec. 4 he dispatched it to Herr v. Lüttichau, the Intendant. In the meantime, to keep the wolf from the door, he did all manner of odd work for Schlesinger, reading proofs, arranging rubbish for various instruments—the cornet-à-piston among the number—making partitions de piano of operas, etc. In 1841 he began to write for the 'Gazette Musicale.' A clever novelette, 'Une visite à Beethoven,' 'fut très remarqué par Berlioz, qui en parla avec eloge dans le Journal des Débats,' Such things improved his position in the estimation of musicians, and preserved his self-respect. But the pay was small and partly absorbed by the expenses of translation; for Wagner, like most Germans, knew enough French for everyday purposes, but could not write the language effectively. His contributions to the Gazette were—to give their German titles:—'Der Virtues und der Künstler,' 'Der Künstler und die Oeffentlichkeit,' 'Ein glücklicher Abend,' 'Der Freyschütz,' 'Eine Pilgerfahrt zu Beethoven,' 'Das Ende eines deutschen Musikers in Paris.' The original German of the two latter has been preserved in the 'Dresdener Abendzeitung' of Theodor Hell (Hofrath Winkler) for 1841; the other articles have been translated back into German by Frau Cosima Wagner. Further articles written in Paris which the author thought worth reprinting are:–Rossini's 'Stabat Materm' dated Dec. 15, 1841, and signed H. Valentino (Schumann's 'Neue Zeitschriffe für Musik'), 'Le Freyschütz,' 'Bericht nach Deutschland' (Ges. Schrift. vol. i.), 'Ueber die Ouvertüre' (ditto, do.). A series of gossiping articles in Lewald's 'Europa,' signed V. Freudenfeuer, and styled 'Pariser Amusements' and 'Pariser Fatalitäten für Deutsche,' also the correspondence written for the Dresden Abendzeitung—'Nachrichten aus dem Gebiete der Künste und Wissenschaften,' have been cancelled—with the one exception of an article on Halévy's 'Reine de Chypre,' Dec. 31, 1841 (Ges. Schrift. vol. i.).

On Feb. 4, 1841, Wagner's overture 'Columbus' was performed at the annual concert to which the publisher Schlesinger used to invite the subscribers to the Gazette musicale. This, by the way, was the only performance of one of Wagner's works at Paris during his first residence there. Score and parts disappeared at that time, and have not yet been found.

When Meyerbeer returned in the summer of 1840, Wagner was in great distress. Meyerbeer again introduced him to the Director of the Opéra, M. Pillet. This time it was a personal introduction, and the reception accordingly was still more polite and encouraging. On Meyerbeer's advice Wagner submitted detailed sketches for the libretto to an opera, 'Der fliegende Holländer,' with the proposal that a French text-book should be prepared for him to set to music. Wagner had come to an understanding about the treatment of the story with Heine, who had a claim to be consulted, inasmuch as it was Heine who had recently related it and had suggested a new and touching dénouement which Wagner wished to adopt. In Heine's 'Memoiren des Herrn von Schnabelewopski,' the imaginary hero witnesses the beginning and end of a play about the 'Ahasuerus of the ocean' at some theatre at Amsterdam, and reports that in the course of that performance the salvation of the doomed captain was brought about by the devotion of a woman 'faithful unto death.' Matters at the Opéra apparently progressed just as Wagner desired. His sketches were accepted, and the names of various arrangeurs were mentioned. Meyerbeer again left Paris, and soon after his departure M. Pillet astonished Wagner by telling him that he had taken a liking to 'Le Vaisseau-Fantôme,' and was therefore anxious to dispose of it in favour of a composer to whom he had long ago promised a good libretto. Wagner refused to listen to any such proposition, and demanded his manuscript back. But this again did not suit M. Pillet, and so the matter remained in abeyance, Wagner consoling himself with the hope that Meyerbeer would ultimately set it straight. In the spring of 1841 Wagner, pressed by creditors, sub-let his rooms in the Rue du Helder, and took lodgings in the suburbs, at Meudon. Accidentally he heard that the plans for the 'Holländer' had been handed to M. Paul Foucher for versification, and that if he did not choose to give his consent to what was going on, he might be left in the cold altogether. Protests proved useless, and in the end M. Pillet paid £20 by way of compensation!

Wagner lost no time in completing his own poem and setting it to music. In seven weeks the score of the entire opera, except the overture, was finished. But £20, even at Meudon, cannot last for ever. Before Wagner could find leisure to write the overture he had to do two months more of journeyman work (Partitions de piano of Halévy's 'Guitarrero,' 'La Reine de Chypre,' etc.). 'I did it all cheerfully enough, corresponded with the artists at Dresden, and looked forward to my deliverance. I offered the book