Today only a few lines of thanks for your last letter, which has rejoiced me unspeakably. I showed it to every one who is in the least near to me, and told them, "Behold, I have such a friend!"

The full and unconditional approbation with which you receive my new plan is the best proof to my mind that I have hit upon the right thing. To be understood by you, and in the peculiar circ.u.mstances, in an undertaking which, besides thwarting your personal wish, can, on account of its unmeasured boldness, be understood by almost no one but him who is impelled to it by inward necessity--this, my dearest Liszt, makes me as happy as if my plan had been successfully accomplished. To Herr von Zigesar also I ask you to express my most cordial thanks for the very kind manner in which he has received and replied to my last communication. He has by that means laid me under a new obligation, and I can only wish that I may be able to show my grat.i.tude.

As far as I am concerned, I am still occupied in resting from the finally somewhat powerful effect of my cure. I shall not undertake much this winter, but shall get everything out of the way, so that the whole poem may be ready by the beginning of summer.

How could you think that I had sent you "Young Siegfried" only to look at? The copy which you have has been made specially by me for you, and I ask you to accept it, although it is not written as beautifully as might be. One thing I must ask you to do for me: send me your medallion, so that I may give it to myself as a Christmas present. I had wanted a long time to ask you for this; and now that, after a prolonged fugitive state, I begin to be a little settled in my small but cheerful dwelling, I want you amongst my Penates in one form or another. If you have a really good portrait, I should like to have that too. You need not be ashamed of hanging on my wall; at present I have there only Beethoven, besides the Nibelung design by Cornelius.

"Oper und Drama" has long been published, as you probably know.

The three operatic poems, with a communication to my friends, will appear at the end of this month, together with the pianoforte score of "Lohengrin." Please order a copy at once; you are nearer to it than I. I bet that the preface will interest you very much. The conclusion I have recently altered a little, but in such a manner that everything referring to Weimar remains unchanged.

Farewell, dear friend, and let me very soon again hear from you.

Your

RICHARD WAGNER.

ZURICH (ZELTWEG), December 14th, 1851.

70.

DEAREST FRIEND,

I am very late in telling you how we have all been delighted and enlivened by your splendid work. How can we thank you for it? How can I more especially express my grat.i.tude? B. and Br. have written to you that the sixth performance of your "Lohengrin" has been, comparatively speaking, a satisfactory one. What I wrote to you at once after the very feeble and faulty first performance has actually happened. The comprehension and interest of the actors, together with those of the public, have increased with every performance; and I feel convinced that the seventh performance on Sat.u.r.day, January 24th, will be even more successful. Next season we shall without delay attack your "Flying Dutchman," which, for local reasons explained to B., I did not propose this winter. We shall then probably be able to add and improve several things in regard to the scenery, etc., of your "Lohengrin." You may firmly rely upon me for bringing your works at Weymar more and more up to the mark, in the same measure as our theatre in the course of time gets over divers economic considerations, and effects the necessary improvements and additions in chorus, orchestra, scenery, etc. Excuse my bad German style; I am better at doing a thing than at writing about it.

Cordial thanks for your splendid gift of "Siegfried." I took the liberty of arranging a recital of it for the Hereditary Grand Duke and his wife at Zigesar"s. Zigesar, who had previously read your poem, is in a state of enthusiasm about it, and the small circle of about fifteen persons whom he a.s.sembled on that evening was selected exclusively from the most zealous Wagnerites--the real creme de la creme. I am very curious as to how you are going to execute the work musically, what proportions the movements will have, etc.

Go at it as soon as possible. Perhaps you will be able to complete the whole work in less than three years. As regards the performance, we shall manage to arrange it somewhere by strictly observing your orders and indications. With all the genius of your fancy, you are so eminently experienced and practical that you will of a certainty write nothing unpractical. Difficulties are necessary--in order to be overcome. If, as I do not suppose, you should not be back in Germany by that time, I charge myself with the whole thing, and shall only trouble you to give me an exhaustive programme of all that you desire and expect in the performance of this gigantic work. To that I shall strictly adhere. Persons and things shall be provided somehow. But I look forward to the pleasure of enjoying your Nibelung trilogy more quietly from a stall or a seat in the balcony, and I invite you for four consecutive days to supper after the performance at the Hotel de Saxe, Dresden, or the Hotel de Russie, Berlin, in case you are able to eat and drink after all your exertions.

Of the conclusion of the preface to the three operatic poems I say nothing. It has. .h.i.t me in my heart of hearts, and I have shed a manly tear over it.

My portrait I shall send you through H.; the medallion I must order from Paris, as there are only galvanoplastic copies in Germany.

The Princess has written a few words to you after the performance of "Lohengrin," which I enclose.

Farewell, and live as tranquilly as possible, my glorious friend.

Let me soon hear something of you.

Your

F. LISZT.

WEYMAR, January 15th, 1852.

71.

Just returned home, with my eyes still moistened by the tears brought to them by the moving scenes of "Lohengrin," to whom should my thought turn at this moment but to you, sir, with the desire that you could have witnessed the effect produced by your beautiful work, better understood as it is every day by executants and spectators? I cannot tell you with how much zeal the former endeavour to respond to the efforts of Liszt for the worthy interpretation of your drama. Having been ill and absent from Weymar for a year, I was this evening able to judge how indefatigable Liszt has been in his instruction, recommenced again and again, and becoming ever more fruitful. You would certainly be satisfied with the progress they all make at each new representation.

Fraulein Fastlinger having left our theatre, Frau Knopp Fehringer takes the part of Ortrud. The former having been generally successful, both as a singer and an actress, opinions are divided as to the latter; and you, as the creator of the part, can alone decide which of them is really preferable. The former had the undoubted advantage of eighteen years, a pretty face, a slim, tall figure, which qualities, as they placed her in age and in beauty near to Elsa, suggested the idea of secret rivalry between woman and woman. One thought that she not only desired to win the throne of Brabant, but was also jealous of Frederick and of the charms of her from whom she had torn him away. The timidity natural to so young an artist gave to her movements the restraint which is characteristic of youth and of the instinct of a rival.

Frau Knopp has over Fraulein Fastlinger the advantage of consummate and very impressive dramatic talent, but she is not very beautiful, in spite of regular features, and not in her first youth, besides which her figure is rather thickset. Her action indicated every nuance with admirable eloquence; she rendered the disdain, the hatred, the rage, which alternately inspire her with gestures and pantomimic actions of such striking reality that she might be compared to the greatest artists in the most famous parts. But she could not be more than an ambitious woman. Between her and Elsa the spectator"s mind could not see any comparison or rivalry, and this has no doubt put out many of the audience without their being able to account for the reason, for nothing could have been more admirable than the acting of Frau Knopp, infinitely more energetic, more richly coloured, more living, more certain, more bold, than that of Fraulein Fastlinger.

It is then for you, sir, to say whether in general it is better to give the part to a young and beautiful artist, whose acting is naturally less experienced and more subdued, or to a woman of mature talent, who gives us an Ortrud less young, but more inflamed and devoured by the secret flames of the hatred of one who is vanquished and the revenge of one who is oppressed. As to myself, I cannot say which of these two conceptions produces the greater impression; the second has certainly something more sombre, more inexorable, about it. One trembles in advance for Elsa on seeing that such hands will fashion her destiny; one is inclined to say that the premeditation of a whole life gives more grandeur to the struggle between ambition and innocence.

Pardon, sir, this long digression; it will show to you how much your poetic conceptions occupy us here. I must not close these lines without telling you how I have been touched by the manner in which you speak of him whose glorious name I am soon to bear.

Who could fail to speak of his spirit, of his genius, of his intelligence? But one must have a high-toned and delicate soul to understand the infinite tenderness of his soul, which so few can feel or divine. He will, no doubt, write to you soon. This evening, after the close of the performance, he accompanied some people who had come from Leipzig to hear your "Lohengrin". Good- bye, dear sir. Permit me to thank you for all the rare pleasures we owe to you by the contemplation of your beautiful works, and accept the expression of my distinguished esteem.

CAROLYNE.

WEYMAR, January 4th, 1852.

72.

MY DEAR FRIEND,

Accept my cordial thanks for your last kind letter, and for the beautiful performance of "Lohengrin" which you have again accomplished; according to all accounts, it must have realized my wishes in a high degree. In such circ.u.mstances my longing increases to enjoy my work, of which hitherto I have only felt the pains of giving birth to it; and my grief at being condemned to the fate of a blind and deaf man towards my own artistic creations begins to have a more and more depressing effect upon me. The existing impossibility of seeing and hearing my works makes the inspiration for new creations so grievously difficult, that I can only think with sorrow and with an unspeakably bitter feeling of the execution of new works. I tell you this for the sake of truth, and without accompanying my complaint by wishes which, as no one knows better than I, must remain unfulfilled.

As regards my "Nibelung" drama, you, my good, sympathetic friend, regard my future in too rosy a light. I do not expect its performance, not at least during my lifetime, and least of all at Berlin or Dresden. These and similar large towns, with their public, do not exist for me at all. As an audience I can only imagine an a.s.sembly of friends who have come together for the purpose of knowing my works somewhere or other, best of all in some beautiful solitude, far from the smoke and pestilential business odour of our town civilization. Such a solitude I might find in Weimar, but certainly not in a larger city. If I now turn to my great work, it is done for the purpose of seeking salvation from my misery, forgetfulness of my life. I have no other aim, and shall think myself happy when I am no longer conscious of my existence. In such circ.u.mstances my only joy is to know at least that I may benefit my friends by my art; in their sympathy with my works lies the only enjoyment I find in them. For that reason I am very pleased that you are thinking of performing the "Flying Dutchman", and I hope that those who love me will reward you for your trouble. As to the representation, and especially the scenery, I shall come to an agreement with you in due time; in Ka.s.sel it is said to have been not unsatisfactory, and some communication with the scenic artist there as to the arrangement of the ships, etc., would therefore seem desirable. Do not begin the copying of the orchestral parts until I have sent to you from here a copy of the score, in which, in accordance with my more recent experiences of orchestral effect, I have revised the instrumental parts.

As regards "Tannhauser", I am glad to learn that you think of complying with my wish to have it given in the form on which I have fixed as the best. On that condition only a permanent success of that opera at Weimar can be of interest to me. I had not the slightest fault to find with you for thinking certain omissions necessary when you first rehea.r.s.ed "Tannhauser" at Weimar. You did not do this because you objected to the omitted parts, but because the artistic resources which were then at your disposal filled you with natural diffidence. I know in particular that in this manner arose the large cut in the finale of the second act which displeased me so much when I attended the rehearsal at Weimar. This is the scene where Elizabeth throws herself in front of the knights to protect Tannhauser. In scenes of this kind, before all others, my feeling for the perfect truth and nature of things impels me to use all the means of art which are within my grasp, and the grandeur of the situation can only be rendered if not the slightest of its essential parts is wanting. In this scene it is necessary that those who rush at Tannhauser should not be driven away from him like children.

Their wrath, their fury, which impels them to the immediate murder of the outlaw, should not be quelled in the turning of a hand, but Elizabeth has to employ the highest force of despair to quiet this roused sea of men, and finally to move their hearts to pity. Only then both fury and love prove themselves to be true and great; and just in the very gradual calming down of the highest excitement, as represented in this scene, I discover my greatest merit in the interest of dramatic truth. After you have in "Lohengrin" solved much more difficult problems of representation, it becomes--I tell you so openly, dear friend-- your duty to give this scene completely, and I know that success will reward you. It is the same with all other things. In Tannhauser"s narration (Act III.) the trombones in the reminiscence of Rome cannot produce the right impression unless this theme has before been heard completely and in fullest splendour, as I give it in the instrumental introduction to the last act, etc. I ask you therefore to adhere strictly to the full score which I had sent to you from Dresden with all my marks; and I will only add that the song of Tannhauser in the first act should be sung in its entirety (the three verses): the real climax, especially in its effect upon Venus, is otherwise totally lost.

Concerning the new conclusion of the last act, I was very angry that it was not given at Weimar from the first, as I a.s.sumed at the time that it would be. Even then I did not want a new public to know the first version, which was caused by a misapprehension on my part of the essence of the scene, as to which unfortunately only the first performance at Dresden enlightened me. Nothing that lies within the possibilities of representation on the stage should be only thought or indicated, but everything should be actually shown. The magical illumination of the Venusberg was, however, no more than an indication; the magic event becomes reality only if Venus herself appears and is heard. This is so true that the afterthought of this situation brought me great wealth of music; consider the scene with Venus in the last act, and you will agree with me that the previous version stands to it in the relation of an engraving to an oil picture. It is just the same with the appearance of the body of Elizabeth. When Tannhauser sinks down by the side of that body, and sighs, "Holy Elizabeth, pray for me!" that is realized which was formerly only indicated.

As I said before, if the performance of "Tannhauser" in Weimar cannot be a complete one, it loses all value for me, for in that case I shall not have drawn the public up to me, but shall have accommodated myself to the public, and that I do not care to do any longer.

Through B. I hear that the "Liebesmahl der Apostel" is on occasion to be given at Weimar. I call your attention to the fact that the orchestration of this work was designed for a vast s.p.a.ce (the Frauenkirche of Dresden) and for a chorus of a thousand men.

For a smaller room and a less numerous chorus the bra.s.s orchestra should be reduced to the usual limits, and especially the four trumpets should be reduced to two. That reduction will have no great difficulties, and B., if I ask him, will be quite able to perform the task well.

To Princees Wittgenstein, who has delighted me with a very friendly letter, I ask you to express my best thanks for her kindness. The deep interest which she has again shown in my "Lohengrin", particularly at the last representation, is of priceless value to me. Her intelligent remarks on the character of Ortrud attracted me especially, as well as the comparison she makes between the efforts of the previous and the actual representative of that part. To which side of the question I incline your valued friend will recognize at once when I explain to her my view of the character by simply saying that Ortrud is a woman who does not know love. By this everything that is most terrible is expressed. Politics are her essence. A political man is repulsive, but a political woman is horrible. This horror I had to represent. There is a kind of love in this woman, the love of the past, of dead generations, the terribly insane love of ancestral pride which finds its expression in the hatred of everything living and actually existing. In man this love is ludicrous, but in woman it is terrible, because a woman, with her strong natural desire for love, must love something; and ancestral pride, the longing after the past, turns in consequence to murderous fanaticism. In history there are no more cruel phenomena than political women. It is not therefore jealousy of Elsa perhaps for the sake of Frederick which inspires Ortrud, but her whole pa.s.sion is revealed only in the scene of the second act where, after Elsa"s disappearance from the balcony, she rises from the steps of the minster, and invokes her old, long- forgotten G.o.ds. She is a reactionary person who thinks only of the old and hates everything new in the most ferocious meaning of the word; she would exterminate the world and nature to give new life to her decayed G.o.ds. But this is not merely an obstinate, morbid mood in Ortrud; her pa.s.sion holds her with the full weight of a misguided, undeveloped, objectless feminine desire for love: for that reason she is terribly grand. No littleness of any kind must occur in this representation; she must never appear simply malicious or annoyed; every utterance of her irony, her treachery, must transparently show the full force of the terrible madness which can be satisfied alone by the destruction of others or by her own destruction.

She of the two actresses who approaches this intention most nearly must therefore be thought the better of the two.

Once more, dear friend, my best compliments to the Princess, and my warmest thanks for her communication. Permit me to recall to your memory the medallion I asked you for; it will give great pleasure to me.

Farewell, best of friends, and make me soon happy again by a few lines from you.

Wholly thine,

RICHARD WAGNER.

ZURICH, January 30th, 1852.