Correspondence of Wagner and Liszt, vol 2 | Page 8

to have cleared away. I often felt beautifully elevated, gently supported; generally I was silent, but it was from inner joy; even hope wound itself softly round my heart; the children of fable came to the weeping elf, saying, "Weep not; thou too mayst still be happy." But the word resounded from farther and farther distance, till at last I could hear it no longer. Silence! now the old night holds me again; let it devour me altogether!
Pardon me. I CANNOT help it.
Farewell, my Franz; farewell; farewell.
Your
R. W.

146.
Dear Friend,
You were going to send me your "Kunstler." Why does it not arrive?
How about the "Faust" symphony? I am writing the "Rhinegold" at once in full score. I did not see my way to jotting down clearly the introduction (the depth of the Rhine) as a sketch; so I hit upon the full score. This is a slower way of proceeding, and my head is still a little confused.
The Princess has done well; greet her and thank her warmly from me. Who knows how it will turn out? I do not care to know.
This is a sign of life to which you must respond sympathetically.
Your
R. W.
Zurich, February 7th, 1854

147.
Dearest Richard,
It is a sad fate that we have to live apart from each other. I can tell you nothing but that I think of you constantly and love you from my heart of hearts.
Latterly my time has been painfully occupied by all manner of business, visits, work, etc. I have written to nobody, as you may well imagine, because you did not receive a letter from me.
Together with this I send you the score of my "Kunstler" chorus, and between this and the autumn I intend to publish half-a-dozen orchestral pieces, also in full score. By October the "Faust" symphony will be finished, which also will be published soon afterwards.
Let us leave these trifles alone and speak of your "Rhinegold." Have you really finished it? That has been wonderfully quick work indeed. You know how delighted I should be if you would let me see the score. Send it to me as soon as you can do without it.
In the meantime I have not neglected your pecuniary affairs, and hope that my intentions will not be frustrated. CANDIDLY answer me two questions:--
1. Have you pressing debts, and what sum do you absolutely require to meet them?
2. Can you manage to live this year on your present income?
There is a probability that Berlin may come off next autumn, and in that case I shall let you know the little result of my effort in good time. For the present DO NOT SPEAK ABOUT IT. Dorn was here, and conducted the second performance of his "Nibelungen." The work is to be given at Berlin in six weeks.
Brendel wrote several things to me about the "Lohengrin" affair in Leipzig. In my opinion, nothing further can be done for the moment, and you have every reason to be calm and SATISFIED. Lohengrin's barque is drawn by a swan; the cackling of geese and the barking of dogs are of no avail.
Berlioz is coming to Hanover at the end of March, and goes from there to Dresden, where he will conduct a few concerts at the theatre. Fischer wrote to me recently about an intended performance of "Cellini" at Dresden. This is as yet a secret, which I, for my part, should like to see made public very soon. The opera is Berlioz's freshest and roundest work, and its failure in Paris and London must be attributed to low villainy and misapprehension. It would be a fine thing if Dresden were to offer him a brilliant REVANCHE, such as he deserves.
Brendel will publish his book within a few days. When you have read it, tell me your candid opinion. Raff also has finished a stout volume on the "Wagner Question" (!). He refuses to show me ANYTHING of it, although he has read parts to several other persons. Fortunately you are no longer to yourself nor to me a QUESTION....
[Here, Liszt illustrates with a 3 1/2 bar musical score example where the words "Ath - mest Du nicht die hol den Duf - te--" are sung.]
Live in your "Rhinegold," and think lovingly of
F. L.
WEYMAR, February 21st, 1854.

148.
DEAR FRANZ,
Many thanks for your "Kunstler." You had in me a somewhat adverse judge of this composition--I mean, I was not in the mood for it. I have got so unaccustomed to judging in an objective sense that in everything I go entirely by inclination. I take up only what attracts my sympathy, and enjoy it, without in the least analysing that enjoyment in a critical manner. Imagine then the contradictions which the very choice of the poem necessarily roused within me. It is more or less a didactic poem. In it