composers with subjects for operettas. I tried to explain to Pillet, both verbally and in writing, that he could hardly expect that the plot would be properly treated except by myself, as this draft was in fact my own idea, and that it had only come to his knowledge by my having submitted it to him. But it was all to no purpose. He was obliged to admit quite frankly that the expectations I had cherished as to the result of Meyerbeer's recommendation to him would not come to anything. He said there was no likelihood of my getting a commission for a composition, even of a light opera, for the next seven years, as his already existing contracts extended over that period. He asked me to be sensible, and to sell him the draft for a small amount, so that he might have the music written by an author to be selected by him; and he added that if I still wished to try my luck at the Opera House, I had better see the 'ballet-master,' as he might want some music for a certain dance. Seeing that I contemptuously refused this proposal, he left me to my own devices.
After endless and unsuccessful attempts at getting the matter settled, I at last begged Edouard Monnaie, the Commissaire for the Royal Theatres, who was not only a friend of mine, but also editor of the Gazette Musicale, to act as mediator. He candidly confessed that he could not understand Pillet's liking for my plot, which he also was acquainted with; but as Pillet seemed to like it-though he would probably lose it-he advised me to accept anything for it, as Monsieur Paul Faucher, a brother-in- law of Victor Hugo's, had had an offer to work out the scheme for a similar libretto. This gentleman had, moreover, declared that there was nothing new in my plot, as the story of the Vaisseau Fantome was well known in France. I now saw how I stood, and, in a conversation with Pillet, at which M. Faucher was present, I said I would come to an arrangement. My plot was generously estimated by Pillet at five hundred francs, and I received that amount from the cash office at the theatre, to be subsequently deducted from the author's rights of the future poet.
Our summer residence in the Avenue de Meudon now assumed quite a definite character. These five hundred francs had to help me to work out the words and music of my Fliegender Hollander for Germany, while I abandoned the French Vaisseau Fantome to its fate.
The state of my affairs, which was getting ever worse and worse, was slightly improved by the settlement of this matter. May and June had gone by, and during these months our troubles had grown steadily more serious. The lovely season of the year, the stimulating country air, and the sensation of freedom following upon my deliverance from the wretchedly paid musical hack-work I had had to do all the winter, wrought their beneficial effects on me, and I was inspired to write a small story entitled Ein glucklicher Abend. This was translated and published in French in the Gazette Musicale. Soon, however, our lack of funds began to make itself felt with a severity that was very discouraging. We felt this all the more keenly when my sister Cecilia and her husband, following our example, moved to a place quite close to us. Though not wealthy, they were fairly well-to-do. They came to see us every day, but we never thought it desirable to let them know how terribly hard-up we were. One day it came to a climax. Being absolutely without money, I started out, early one morning, to walk to Paris-for I had not even enough to pay the railway fare thither-and I resolved to wander about the whole day, trudging from street to street, even until late in the afternoon, in the hope of raising a five-franc piece; but my errand proved absolutely vain, and I had to walk all the way back to Meudou again, utterly penniless.
When I told Minna, who came to meet me, of my failure, she informed me in despair that Hermann Pfau, whom I have mentioned before, had also come to us in the most pitiful plight, and actually in want of food, and that she had had to give him the last of the bread delivered by the baker that morning. The only hope that now remained was that, at any rate, my lodger Brix, who by a singular fate was now our companion in misfortune, would return with some success from the expedition to Paris which he also had made that morning. At last he, too, returned bathed in perspiration and exhausted, driven home by the craving for a meal, which he had been unable to procure in the town, as he could not find any of the acquaintances he went to see. He begged most piteously for a piece of bread. This climax to the situation at last inspired my wife with heroic resolution; for she felt it her duty to exert herself to appease at least the hunger of her menfolk. For the first time during her stay on French soil, she persuaded the baker, the butcher, and wine-merchant, by plausible arguments, to supply her with the necessaries of life without immediate cash payment, and Minna's eyes beamed when, an hour later, she was able to put before us an excellent meal, during which, as it happened, we were surprised by the Avenarius family, who were evidently relieved at finding us so well provided for.
This extreme distress was relieved for a time, at the beginning of July, by the sale of my Vaisseau Fantome, which meant my final renunciation of my success in Paris. As long as the five hundred francs lasted, I had an interval of respite for carrying on my work. The first object on which I spent my money was on the hire of a piano, a thing of which I had been entirely deprived for months. My chief intention in so doing was to revive my faith in myself as a musician, as, ever since the autumn of the previous year, I had exercised my talents as a journalist and adapter of operas only. The libretto of the Fliegender Hollander, which I had hurriedly written during the recent period of distress, aroused considerable interest in Lehrs; he actually declared I would never write anything better, and that the Fliegender Hollander would be my Don Juan; the only thing now was to find the music for it. As towards the end of the previous winter I still entertained the hopes of being permitted to treat this subject for the French Opera, I had already finished some of the words and music of the lyric parts, and had had the libretto translated by Emile Deschamps, intending it for a trial performance, which, alas, never took place. These parts were the ballad of Senta, the song of the Norwegian sailors, and the 'Spectre Song' of the crew of the Fliegender Hollander. Since that time I had been so violently torn away from the music that, when the piano arrived at my rustic retreat, I did not dare to touch it for a whole day. I was terribly afraid lest I should discover that my inspiration had left me-when suddenly I was seized with the idea that I had forgotten to write out the song of the helmsman in the first act, although, as a matter of fact, I could not remember having composed it at all, as I had in reality only just written the lyrics. I succeeded, and was pleased with the result. The same thing occurred with the 'Spinner's Song,' and when I had written out these two pieces, and, on further reflection, could not help admitting that they had really only taken shape in my mind at that moment, I was quite delirious with joy at the discovery. In seven weeks the whole of the music of the Fliegender Hollander, except the orchestration, was finished.
Thereupon followed a general revival in our circle; my exuberant good spirits astonished every one, and my Avenarius relations in particular thought I must really be prospering, as I was such good company. I resumed my long walks in the woods of Meudon, frequently even consenting to help Minna gather mushrooms, which, unfortunately, were for her the chief charm of our woodland retreat, though it filled our landlord with terror when he saw us returning with our spoils, as he felt sure we should be poisoned if we ate them.
My destiny, which almost invariably led me into strange adventures, here once more introduced me to the most eccentric character to be found not only in the neighbourhood of Meudon, but even in Paris. This was M. Jadin, who, though he was old enough to be able to say that he remembered seeing Madame de Pompadour at Versailles, was still vigorous beyond belief. It appeared to be his aim to keep the world in a constant state of conjecture as to his real age; he made everything for himself with his own hands, including even a quantity of wigs of every shade, ranging in the most comic variety from youthful flaxen to the most venerable white, with intermediate shades of grey; these he wore alternately, as the fancy pleased him. He dabbled in everything, and I was pleased to find he had a particular fancy for painting. The fact that all the walls of his rooms were hung with the most childish caricatures of animal life, and that he had even embellished the outside of his blinds with the most ridiculous paintings, did not disconcert me in the least; on the contrary, it confirmed my belief that he did not dabble in music, until, to my horror, I discovered that the strangely discordant sounds of a harp which kept reaching my ears from some unknown region were actually proceeding from his basement, where he had two harpsichords of his own invention. He informed me that he had unfortunately neglected playing them for a long time, but that he now meant to begin practising again assiduously in order to give me pleasure. I succeeded in dissuading him from this, by assuring him that the doctor had forbidden me to listen to the harp, as it was bad for my nerves. His figure as I saw him for the last time remains impressed on my memory, like an apparition from the world of Hoffmann's fairy-tales. In the late autumn, when we were going back to Paris, he asked us to take with us on our furniture van an enormous stove-pipe, of which he promised to relieve us shortly. One very cold day Jadin actually presented himself at our new abode in Paris, in a most preposterous costume of his own manufacture, consisting of very thin light- yellow trousers, a very short pale-green dress-coat with conspicuously long tails, projecting lace shirt frills and cuffs, a very fair wig, and a hat so small that it was constantly dropping off; he wore in addition a quantity of imitation jewellery-and all this on the undisguised assumption that he could not go about in fashionable Paris dressed as simply as in the country. He had come for the stove-pipe; we asked him where the men to carry it were; in reply he simply smiled, and expressed his surprise at our helplessness; and thereupon took the enormous stove- pipe under his arm and absolutely refused to accept our help when we offered to assist him in carrying it down the
