intricate questions which he propounds in this book as if they were being discussed for the first time by him, and which he treats in a charmingly exhaustive manner, had often occupied my mind since the very first days of my acquaintance with Lehrs in Paris, just as they occupy the mind of every imaginative and serious man. With me, however, this was not lasting, and I had contented myself with the poetic suggestions on these important subjects which appear here and there in the works of our great poets.
The frankness with which Feuerbach explains his views on these interesting questions, in the more mature parts of his book, pleased me as much by their tragic as by their social-radical tendencies. It seemed right that the only true immortality should be that of sublime deeds and great works of art. It was more difficult to sustain any interest in Das Wesen des Christenthums ('The Essence of Christianity') by the same author, for it was impossible whilst reading this work not to become conscious, however involuntarily, of the prolix and unskilful manner in which he dilates on the simple and fundamental idea, namely, religion explained from a purely subjective and psychological point of view. Nevertheless, from that day onward I always regarded Feuerbach as the ideal exponent of the radical release of the individual from the thraldom of accepted notions, founded on the belief in authority. The initiated will therefore not wonder that I dedicated my Kunstwerk der Zukunft to Feuerbach and addressed its preface to him.
My friend Sulzer, a thorough disciple of Hegel, was very sorry to see me so interested in Feuerbach, whom he did not even recognise as a philosopher at all. He said that the best thing that Feuerbach had done for me was that he had been the means of awakening my ideas, although he himself had none. But what had really induced me to attach so much importance to Feuerbach was the conclusion by means of which he had seceded from his master Hegel, to wit, that the best philosophy was to have no philosophy-a theory which greatly simplified what I had formerly considered a very terrifying study-and secondly, that only that was real which could be ascertained by the senses.
The fact that he proclaimed what we call 'spirit' to be an aesthetic perception of our senses, together with his statement concerning the futility of philosophy-these were the two things in him which rendered me such useful assistance in my conceptions of an all-embracing work of art, of a perfect drama which should appeal to the simplest and most purely human emotions at the very moment when it approached its fulfilment as Kunstwerk der Zukunft. It must have been this which Sulzer had in his mind when he spoke deprecatingly of Feuerbach's influence over me. At all events, after a while I certainly could not return to his works, and I remember that his newly published book, Uber das Wesen der Religion ('Lectures on the Essence of Religion'), scared me to such an extent by the dullness of its title alone, that when Herwegh opened it for my benefit, I closed it with a bang under his very nose.
At that time I was working with great enthusiasm upon the draft of a connected essay, and was delighted one day to receive a visit from the novelist and Tieckian scholar, Eduard von Billow (the father of my young friend Billow), who was passing through Zurich. In my tiny little room I read him my chapter on poetry, and could not help noticing that he was greatly startled at my ideas on literary drama and on the advent of the new Shakespeare. I thought this all the more reason why Wigand the publisher should accept my new revolutionary book, and expected him to pay me a fee which would be in proportion to the greater size of the work. I asked for twenty louis d'or, and this sum he agreed to pay me.
The prospect of receiving this amount induced me to carry out the plan, which need had forced upon me, of travelling to Paris and of trying my luck there as a composer of opera. This plan had very serious drawbacks; not only did I hate the idea, but I knew that I was doing an injustice to myself by believing in the success of my enterprise, for I felt that I could never seriously throw myself into it heart and soul. Everything, however, combined to make me try the experiment, and it was Liszt in particular who, confident of this being my only way to fame, insisted upon my reopening the negotiations into which Belloni and I had entered during the previous summer. To show with what earnestness I tried to consider the chances of carrying out my plan, I drafted out the plot of the opera, which the French poet would only have to put into verse, because I never for a moment fancied that it would be possible for him to think out and write a libretto for which I would only need to compose the music. I chose for my subject the legend of Wieland der Schmied, upon which I commented with some stress at the end of my recently finished Kunstwerk der Zukunft, and the version of which by Simrock, taken from the Wilkyna legend, had greatly attracted me.
I sketched out the complete scenario with precise indication of the dialogue for three acts, and with a heavy heart decided to hand it over to my Parisian author to be worked out. Liszt thought he saw a means of making my music known through his relations with Seghers, the musical director of a society then known as the 'Concerts de St. Cecile.' In January of the following year the Tannhauser Overture was to be given under his baton, and it therefore seemed advisable that I should reach Paris some time before this event. This undertaking, which appeared to be so difficult owing to my complete lack of funds, was at last facilitated in a manner quite unexpected.
I had written home for help, and had appealed to all the old friends I could think of, but in vain. By the family of my brother Albert in particular, whose daughter had recently entered upon a brilliant theatrical career, I was treated in much the same way as one treats an invalid by whom one dreads to become infected. In contrast to their harshness I was deeply touched by the devotion of the Ritter family, who had remained in Dresden; for, apart from my acquaintance with young Karl, I scarcely knew these people at all. Through the kindness of my old friend Heine, who had been informed of my position, Frau Julie Ritter, the venerable mother of the family, had thought it her duty to place, through a business friend, the sum of fifteen hundred marks at my disposal. At about the same time I received a letter from Mme. Laussot, who had called upon me in Dresden the year before, and who now in the most affecting terms assured me of her continued sympathy.
These were the first signs of that new phase in my life upon which I entered from this day forth, and in which I accustomed myself to look upon the outward circumstances of my existence as being merely subservient to my will. And by this means I was able to escape from the hampering narrowness of my home life.
For the moment the proffered financial assistance was very distasteful to me, for it seemed to forbid my raising any further objections to the realisation of the detested Paris schemes. When, however, on the strength of this favourable change in my affairs, I suggested to my wife that we might, after all, content ourselves with remaining in Zurich, she flew into the most violent passion over my weakness and lack of spirit, and declared that if I did not make up my mind to achieve something in Paris, she would lose all faith in me. She said, moreover, that she absolutely refused to be a witness of my misery and grief as a wretched literary man and insignificant conductor of local concerts in Zurich.
We had entered upon the year 1850; I had decided to go to Paris, if only for the sake of peace, but had to postpone my journey on account of ill-health. The reaction following upon the terrible excitement of recent times had not failed to have its effect on my overwrought nerves, and a state of complete exhaustion had followed. The continual colds, in spite of which I had been obliged to work in my very unhealthy room, had at last given rise to alarming symptoms. A certain weakness of the chest became apparent, and this the doctor (a political refugee) undertook to cure by the application of pitch plasters. As the result of this treatment and the irritating effect it had upon my nerves, I lost my voice completely for a while; whereupon I was told that I must go away for a change. On going out to buy my ticket for the journey, I felt so weak and broke out into such terrible perspiration that I hastened to return to my wife in order to consult her as to the advisability, in the circumstances, of abandoning the idea of the expedition altogether. She, however, maintained (and perhaps rightly) not only that my condition was not dangerous, but that it was to a large extent due to imagination, and that, once in the right place, I would soon recover.
An inexpressible feeling of bitterness stimulated my nerves as in anger and despair I quickly left the house to buy the confounded ticket for the journey, and in the beginning of February I actually started on the road to Paris. I was filled with the most extraordinary feelings, but the spark of hope which was then kindled in my breast certainly had nothing whatever to do with the belief that had been imposed upon me from without, that I was to make a success in Paris as a composer of operas.
I was particularly anxious to find quiet rooms, for peace had now become my first necessity, no matter where I happened to be staying. The cabman who drove me from street to street through the most isolated quarters, and whom I at last accused of keeping always to the most animated parts of the city, finally protested in despair that one did not come to Paris to live in a convent. At last it occurred to me to look for what I wanted in one of the cites through which no vehicle seemed to drive, and I decided to engage rooms in the Cite de Provence.
True to the plans which had been forced upon me, I at once called on Herr Seghers about the performance of
