I did not write to you at once in order to write to you more at length and more calmly on a favourable day. Then came the number of the "Ill.u.s.trirte Zeitung" of April 12th, and once more I read your printed article from beginning to end. It is difficult for me to describe the impression your work of friendship has made on me just at this time. I was once more cold and diffident, and looked with something like bitter irony on the thought of having to begin a new artistic labour. The artistic misery far and wide around me was so great, my mood so hopeless, that I felt inclined to laugh at myself when I thought, for example, of the composition of my "Siegfried;" and this mood I transferred to all my other works. Recently I glanced through my score of "Lohengrin;" it filled me absolutely with disgust, and my intermittent fits of laughter were not of a cheerful kind. Then you approached me once more, and moved, delighted, warmed, inspired me in such a manner that the bright tears welled forth, and that once more I knew no greater delight than that of being an artist and of creating works. I have no name for the effect you have produced upon me. Everywhere around me I see nothing but the most beautiful spring life, full of germs and blossoms, and together with it such voluptuous pain, such painfully intoxicating joy, such delight in being a man, in having a beating heart--although it feel nothing but sorrow--that I regret only to have to write all this to you.
And how strangely everything happens with you! Would I could describe my love for you! There is no torture, but, on the other hand, no joy, which does not vibrate in this love. One day jealousy, fear of what is strange to me in your particular nature, grieve me; I feel anxiety, trouble, yea doubt; and then again something breaks forth in me like a fire in a wood, and everything is devoured by this conflagration, which nothing but a stream of the most blissful tears can extinguish at last. You are a wonderful man, and wonderful is our love. If we had not loved, we might have terribly hated, one another. All that I wanted to write to you with well-balanced composure must now come out just as it happens to strike me at the moment. My "Siegfried" I shall begin at the commencement of May, happen what will. Perish all guarantee of my existence! I shall not starve. For my book I have at last a publisher, Avenarius, in Leipzig; he pays me one hundred thalers; it is very little, but I don"t think I can get any more. Now and then you will put a groat by for me; and when my necessity grows breast-high, you will help me with as much as you may happen to have for a poor friend. Frau R. in D. will also do her part off and on, and in the winter I shall earn again a few louis d"or by conducting symphonies, so that I shall not go to the devil after all if only my wife will keep calm. So let us leave the Grand d.u.c.h.ess alone; I can and will not ask her for anything even in the most indirect manner. If she made me an offer of her own free will, it would touch and delight me, all the more coming from a princess, but this possibility, even if it never should happen, I must not turn into an impossibility by asking her for a proof of her kindness. Away with all business transactions as to this question! Up till now the sympathy of that princely lady has made so beautiful an impression upon me, that I do not wish to spoil it. Are we agreed? I think so.
You ask me about the "Judenthum." You must know that the article is by me. Why do you ask? Not from fear, but only to avoid that the Jews should drag this question into bare personality, I appear in a pseudonymous capacity. I felt a long-repressed hatred for this Jewry, and this hatred is as necessary to my nature as gall is to the blood. An opportunity arose when their d.a.m.nable scribbling annoyed me most, and so I broke forth at last. It seems to have made a tremendous impression, and that pleases me, for I really wanted only to frighten them in this manner; that they will remain the masters is as certain as that not our princes, but the bankers and the Philistines, are nowadays our masters. Towards Meyerbeer my position is a peculiar one. I do not hate him, but he disgusts me beyond measure. This eternally amiable and pleasant man reminds me of the most turbid, not to say most vicious, period of my life, when he pretended to be my protector; that was a period of connections and back stairs when we are made fools of by our protectors, whom in our inmost heart we do not like. This is a relation of the most perfect dishonesty; neither party is sincere towards the other; one and the other a.s.sume the appearance of affection, and both make use of each other as long as their mutual interest requires it. For the intentional impotence of his politeness towards me I do not find fault with Meyerbeer; on the contrary, I am glad not to be his debtor as deeply as, for example, B. But it was quite time that I should free myself perfectly from this dishonest relation towards him. Externally there was not the least occasion for it, for even the experience that he was not sincere towards me would not have surprised me, neither did it give me a right to be angry, because at bottom I had to own that I had intentionally deceived myself about him. But from inner causes arose the necessity to relinquish all considerations of common prudence with regard to him. As an artist I cannot exist before myself and my friends, I cannot think or feel, without realizing and confessing my absolute antagonism to Meyerbeer, and to this I am driven with genuine desperation when I meet with the erroneous opinion even amongst my friends that I have anything in common with Meyerbeer. Before none of my friends I can appear in clear and definite form, with all that I desire and feel, unless I separate myself entirely from the nebulous outline in which many see me. This is an act necessary for the perfect birth of my matured nature; and if G.o.d wills, I hope to be of service to many by performing this act so zealously.
What you will think of this--that--just imagine--I do not as yet know exactly. I know who you are and perfectly feel what you are, and yet it must appear to me as if in this point you could not as yet be entirely your own self. But enough of this. There are earthly things on which we may occasionally be of different opinion without ever parting from each other in divine things. If you don"t approve of something here, shut your eyes to it.
Let me at last have some good news of you. In your most intimate relations you seem to me so sadly placed that I am quite melancholy about it. Is the illness of the Princess so serious that, apart from its long duration, it inspires you with real anxiety? I must almost fear this unless you rea.s.sure me about it.
Do this as soon as you can, and tell the highly esteemed lady how cordially I sympathize with her sufferings.
Dear, dear Liszt, arrange that we soon may see each other.
Perhaps the Princess would benefit by Swiss air; send her here and come with her.
I cannot go on today. I wanted to write to you about your Goethe foundation, but must wait for a calmer hour to meet your splendid idea with dignity.
Farewell, and be pressed to the heart of your
RICHARD WAGNER.
ENGE, ZURICH, April 18th, 1851.
I doubt whether the correction of the proof will still be necessary, but have sent it to Leipzig nevertheless.
60.
Then we are to have "Young Siegfried"! You are truly a most incredible fellow, to whom one must doff hat and bonnet three times. The satisfactory settlement of this matter rejoices me cordially; and, as you may imagine, I have perfect faith in your work. But let us say nothing about it until you send in "Young Siegfried" (July 1st, 1852), so as to avoid the useless preliminary talk of people. Here n.o.body knows about it, excepting Zigesar; and we are anxious to keep it from the public.
"Lohengrin" at its last performance (the fifth) on Sunday was appreciated more than ever, and actors and orchestra also came nearer to the understanding and the interpretation of the work.
The house was filled for the greater part, it is true, by Erfurters, Naumburgers, and other curious people from the neighbourhood, for, to speak candidly, our Weymar public, with the exception of about a dozen persons, are not yet sufficiently advanced to be in real sympathy with so extraordinary a work.
That "Lohengrin" has reached its fifth performance in one season is a kind of miracle which must be attributed to the Court. The Hereditary Grand d.u.c.h.ess had especially asked for this performance on the occasion of her first visit to the theatre after her confinement. From Leipzig came David and Moscheles, from Halle Robert Franz, from Eisenach Kuhnstedt. Professor Stahr, who has become a dear friend, and f.a.n.n.y Lewald have been here about a fortnight.
Stahr is going to write about "Lohengrin" in the National Zeitung or Kolnische Zeitung. If after reading his article you feel inclined to write him a few lines, send them to Weymar (Hotel Zum Erbprinzen). Muller has written another "Lohengrin" article in the Weimar Zeitung, which he has probably sent to you. After the performance of "Lohengrin" I received your letter about the Goethe foundation, and I thank you cordially for it. I may mention, however, that perhaps no less than two years" time and trouble will be required to make the idea of the Goethe foundation a reality. I am prepared to devote that time to it, because I am firmly convinced that without my activity the thing here will simply come to nothing, as has already happened at Berlin.
Should you not be inclined to publish your letter in its actual form of a letter to me in some newspaper which is open to you? I will send it back to you in a few days for that purpose, asking you, however, to return it to me at Weymar as soon as you have done with it.
The day after tomorrow I have to go to Eilsen for the third time, but hope to be back here at Whitsuntide. At the close of the theatrical season we shall have either "Tannhauser" or "Lohengrin" once more. The direction of the former work I think I may now leave to Gotze.
If possible, send me a copy of your autobiography direct to Eilsen (Buckeburg). I can make good use of it in connection with the pamphlet which is to be published (in French) in June by Brockhaus. If your article on the Zurich theatre has appeared, send it also to me at Eilsen, where I shall employ my time in reading and working. I am most curious to know your views and practical proposals with regard to theatrical matters, and I shall be most ready to adopt your ideas as far as possible.
Draw up occasionally for me a repertory of earlier and modern works which appear to you most adapted to further the cause of art. At present I cannot help thinking it advisable to make some eclectic concessions (alas! alas!) to the existing state of our theatrical inst.i.tutions.
Be well and active, dear, splendid friend, and soon give news to your
F. LISZT.
WEYMAR, May 17th, 1851.
61.
BEST OF ALL FRIENDS,
I must reply to you at once about a few things which you ask me in your letter received yesterday, so as to let you know how matters stand. First of all (as is always the case when I have to deal with you), I must wipe a blush of shame off my face before answering you. Your wishes always concern me, and that in a sense which must flatter me to the very core. You want a copy of my autobiography in order to make use of it for your pamphlet. What can I say to that? I will say nothing, but only reply that in this instance my vanity is not sufficiently great to make me carry my biography about with me. I do not possess it, and do not know where to get it. If you really want to see it, you might perhaps get it more easily from Weimar, if I told you exactly where it is to be found. It appeared in the "Zeitung fur die elegante Welt" in the year 1843, first quarterly issue, month of February, I believe. But I can scarcely think that you will find much in it beyond the confirmation of the fact that I too have erred much in my artistic efforts, not being one of the elect who, like Mendelssohn, received the only true, infallible, "solid" food of art, like heavenly manna in their mouths, and who therefore were able to say, "I have never erred." We poor earthly worms can get only through error to a knowledge of truth, which therefore we love pa.s.sionately, like a conquered bride, and not with the genteel approval with which we look upon a spouse selected for us beforehand by the dear parents. At that time when I wrote my autobiography by Laube"s desire, I had, it is true, finished my "Flying Dutchman" and sketched the poem of "Tannhauser", but only through my completed "Tannhauser" and my completed "Lohengrin" did I gain perfect clearness as to the direction in which I had been impelled by unconscious instinct.
Later on, in connection with the edition of my operatic poems, I shall take occasion to explain the process of development observed in me; certain it is that nothing of this can be contained in my autobiography. All the more interesting will it be for me to see that direction judged from his own observation by some one else, i.e., some one like you.
Concerning my last letter to you, I must ask you to be a.s.sured that I wrote it without ostensible object. To you alone I wanted to speak on a topic started by yourself, because I did not desire to support an opinion in a general way, but to effect something real, viz., the foundation of an original theatre. I therefore did not want to address the public--which qua public is quite useless for that purpose--but some one who has the intellect and before all the energy to view distinctly the accomplishment of such an object in given circ.u.mstances. If in the actual condition of generally accepted opinion something is to be undertaken which combats and denies that opinion as detrimental to art, this can of course only be done by individuals. We cannot expect a better general condition until the individual has become perfectly strong in itself, for the general must proceed from individuals, and for the present therefore we must be intent upon being ready ourselves and communicating with none but those nearest akin to us. In this spirit I look upon the theatre. If we want to work for a rational condition of the theatre in all Germany, we shall never achieve anything in the slightest degree rational unless we begin at some given point, even the smallest. That point I imagine I have found where an embodiment of genius and energy is already acting in the right sense. Where else can you find such things as are done at Weimar? But through whom is this done?
Through you alone! The Court may have the best possible intention; it is not an artist to realize its intention or even to conceive a distinct intention, for that in this case none but an artist can do. This is the reason why I have applied to you alone. I had no other intention. If you think it useful and appropriate to make a wider use of my communication, you are quite at liberty to do so. If you think that a totally independent word of mine as to the position of poetry and the fine arts, especially in reference to a given object, may not be wholly without beneficial influence on many of those concerned, before all if you think that the object in question may be furthered by it, I ask you to dispose of my letter as your property. I, however, cannot undertake its publication. I should defeat my original purpose in doing so, besides which no journals are open to me. In the "Deutsche Monatsschrift", to which I am now and then asked to contribute, I do not like on principle to treat the question in this form; our object would not be furthered by it. Act therefore entirely according to your judgment. If you think it useless, leave it alone. If, however, you print the letter, omit what you think unfit for publicity. I should not willingly make additions, because they would of necessity have reference to the "original theatre," and about that I should have to say a great deal to make my idea comprehensible to the general public.
You have probably received my little pamphlet "Ein Theater in Zurich." Much, yea most, in it will not suit you, for the conditions here are too different from those of Weimar; but my idea of the essence of the activity of the "original theatre" the little work will make tolerably clear. In case you ask "whether I wish to exclude altogether everything extraneous" I reply in advance, Yes, for the present, and until the main object is attained, but not for the future. The main object is this: that the theatre imagined by me should, by the originality of its work, gain perfect individual independence, should educate itself to be a conscious individual. This object once attained, this individual independence achieved, then, and then only, should it exchange its achievements with those of other equally independent theatrical individualities, and by means of this exchange be fructified to ever greater capability and variety, extending in this manner to wider and generally human circles. This fructifying exchange can be successfully accomplished only when receiving means at the same time giving; only he who can give can receive with benefit to himself. At present our theatres are so wholly dependent, so entirely without individuality, that they can do nothing but receive, without having the power of really appropriating what they receive. Our theatres are undeveloped beings, pulpy, pappy molluscs, which can never bring forth a man.
I must refrain from saying any more on this head; it might easily lead me to writing another book of four hundred pages, and the writing of books I am determined to abandon in preference to producing a work of art. Only this much I must add: through you Weimar is already in a good way; proceed on that way of original achievement with conscious principle, express that principle distinctly, and by that means gain more and more partic.i.p.ants in your consciousness; by that means you can easily show how an intention may gradually become a reality. Raff"s opera has pleased me immensely; that is right, and now onwards! or, to speak plainly, it is your turn now,
Write an opera for Weimar, I entreat you; write it exactly for the artists who are there, and who through your work will be elevated, made more n.o.ble, more universal. Continue, if you like, your plans for the Italians; there also, I feel sure, you can do famous and useful things, but at the same time abide by what is nearest to you, by what is your present home; where you are in bodily presence, and with your whole mental energy, be there also with your productive will; do not trouble yourself about the other German theatres and their conditions. You do not want them in order to achieve something beautiful and at the same time useful. Candidly speaking, what do you seek just now, and with your present activity amongst the Italians, otherwise than an increase of your fame? Very well, but will that make you happy?
For that you no longer care! Other conditions are necessary to give you happiness. Do something for your Weimar.
Well, I will not entreat you anymore for the present; you must find out for yourself what you have to do.
One thing more, however: work thoroughly for the culture of your theatrical people. You will get the desired artists from nowhere unless you create them for yourself. Be careful to make your singers first of all good actors; how is he to sing who cannot speak and declaim well? Nothing can here be done in a casual manner; you must proceed on principle and with expressed intention. (For that reason think of the Goethe foundation!) To speak plainly, you want a good stage-manager. Genast is a splendid fellow, but he has grown old in routine; he does not know, and will never understand, what has to be done. A man like Eduard Devrient would be of excellent effect for the training of your actors, for he knows what has to be done. (I admit the difficulty of getting such a man.) You must further have an able singing master. I believe that Gotze has good qualities for the post, but he ought to have power as well; people ought to be compelled to learn from him.
I am aware that a man does not become an artist by mere training, but he can never become an artist unless his organic faculties are healthily developed, and that is what is wanting amongst us almost everywhere. Other things will be easily set right if you are more careful in the choice of works selected for performance than is generally the case amongst us. The coa.r.s.e mixture of all genres and all styles is the evil which prevents our actors from gaining any kind of artistic consciousness. Gluck today, Donizetti tomorrow, Weber today, Rossini or Auber tomorrow, serious today, frivolous tomorrow--what is the result? That the people can do neither Gluck nor Donizetti, neither the serious nor the frivolous. How terrible also are the translations! People get systematically accustomed to the absolute senselessness of scenic representations; look therefore to a rational treatment of the translated librettos. Before all, accustom your singers to looking upon their work in the first instance as a dramatic task; the accomplishment of their lyrical task will after that be an easy matter. Works of the earlier French school are most adapted to the purpose, because in them a natural dramatic intention is most perceptible. Singers who cannot execute well and effectively the "Water-carrier," by Cherubini, or "Joseph," by Mehul--how are they to be able to master the (in that case) enormous difficulties of, for example, one of my operas? The chief thing, however, will always be new works and such works as are adapted to our set of artists and have been written specially for this theatre. But enough of preaching! If I have been almost impertinent, you must forgive me. Today is my birthday, and you could not have sent me a better present than your letter of yesterday.
As yet Heaven has not given us fine weather, but I wait for the first bright, sunny day to commence the poem of my "Young Siegfried" with the pen. In my head it is ready. In July I hope to send you the poem.
Your last news has once more made me desirous to write to the Hereditary Grand d.u.c.h.ess. The contact with a sympathetic, n.o.ble female nature is to me an infinitely joyful feeling, and that feeling I should like to gain as a blessing for my impending work. If you think that I might permit myself a slight deviation from the ordinary official style towards this lady, I should ask you one of these days to forward a letter from me to her. The official style I cannot manage. Our dear, foolish Zigesar always writes to me, "Ew. Wohlgeboren," etc. I wish he would leave that alone. I am sorry when, in his kindness towards me, I stumble over this kind of powder and pigtail business.
May G.o.d bless you, not the "G.o.d of Buckeburg." You are right in retiring into solitude now and then; without that men like us cannot exist. Greet the Princess most cordially. I hope she will soon be well again.
Farewell, dearest of friends. I press you to my heart!
Your
RICHARD WAGNER.
ENGE, ZURICH, May 22nd, 1851.
62.
DEAREST FRIEND,
Short news from me today.
I have quite finished the poem of my "Young Siegfried". It has given me great joy; it is certainly what I was bound to do, and the best thing that I have done so far. I am really glad about it. With my violent way of working, I am always considerably tired at the end. I must take some time to recover. I cannot just yet make up my mind to copy it out for you, for many reasons, too long to tell. I feel also some bashfulness in submitting my poem to you without further explanation--a bashfulness which has its reason in me, not in you. I therefore ask you whether there is not a chance of my seeing you soon. Some time ago you made me think so. How is it now? Can you visit me, or at least appoint a place, accessible to me, for meeting? Please answer this question at once. My longing to see you, dear, splendid friend, again after two years, during which you have been more to me than I can describe, and to spend a few days with you, is greater than I am able to express. Can you fulfill this longing? If we could meet shortly, I should keep my "Young Siegfried", in order to read it to you. This would add to my peace of mind considerably. The written word is, I fear, insufficient for my intention; but if I could read it to you viva voce, indicating how I want to have it interpreted, I should be quite satisfied as to the desired impression of my poem upon you. Write to me at once what my chances are. If, alas! you cannot come, I shall have a copy made at once and send it you.
One thing more: in my last letters I entirely forgot to mention the Hartel affair to you. By a certain impulse, I applied to Breitkopf and Hartel about "Lohengrin". I owed them from of old two hundred thalers for a grand pianoforte, and proposed to them to wipe out this debt and to take the copyright of "Lohengrin" in return. At first they entertained my offer as to the pianoforte score, but I insisted again on the full score being engraved, telling them that something might be done by subscription, and referring them to your influential help. For a long time I heard nothing, but today I have a letter from the H."s, saying that they accede to my wish and are prepared to print the full score.
How has this happened? Now that my demand has been granted, it almost appears fabulous to me that they should publish the full score of an opera which has only been given at Weimar.