only a cheerful and energetic front.

"Eva had comprehended this secret grief, and, moved to the depth of her soul, she had longed to fly where she could no longer hear that song with its pretence of joy.

"Here[1] this motif is played alone and developed fully, to die away at last in the sadness of renunciation, but, at the same time, the horns take up, softly, as if heard from a distance, the solemn chant with which Hans Sachs saluted Luther and the Reformation, and which brought to the poet a supreme popularity. After the first strophe the stringed instruments retake softly, and in a very slow movement, the themes of the true song of the shoemaker, as if the man raised his head from the work of his trade to look upward and lose himself in sweet and tender reveries. Then the horns, with their most exalted tone, break in triumphantly with that hymn of the Master with which Hans Sachs, on his appearance at the Fête in the third act, is saluted by all the people of Nuremberg in one unanimous thunder of applause.

"Again, the first motif of the stringed instruments enters, expressing with vigour the natural emotion of a soul profoundly moved. Gradually it grows calmer and more serene, and finally arrives at the supreme peace of a sweet and beautiful resignation.

"It is the real meaning of this short instrumental part that so impressed the worthy Pasdeloup that he essayed to perform it at your concerts as an illustration of this unusual music.

"Pardon me, Madame, for venturing to complete, with the aid of my imperfect French, your knowledge of my music—a knowledge otherwise so thorough and profound as truly to have surprised and touched me.

"I shall probably go to Paris before long, perhaps even this winter, and I delight in the anticipation of the real pleasure of taking your hand and telling you in person what good you have done to your very grateful and sincere,

"RICHARD WAGNER."

Wagner did not come to Paris that winter, so I looked for him in vain. But my longing to see him had become irresistible since the Master had written that he would like to know me.

There was only one thing to do—to go to Lucerne. But how should I be received? Strange stories were told about Wagner. One authority reported that he had a seraglio of women of all countries and of all colours, clothed magnificently, but that no one ever crossed his threshold.

Someone else described him as an unsociable man, gloomy and disagreeable, living alone in strict seclusion, his only companion a great black dog....

The idea of this stem solitude was not incongruous, and rather pleased me; but I was greatly troubled lest the Master might feel forced to permit my intrusion only through some sentiment of gratitude or courtesy.

Therefore I wrote a rather complicated letter, saying that I should pass through Lucerne with some friends, on my way to an exhibition of paintings at Munich. It would be only a flying visit, I wrote, and I begged him to tell me if he would be there at that time, and if I might go to pay my respects to him.

He would understand from this that I should not disturb him by staying too long.

The following letter completely reassured me:—

"MADAME,—I am now in Lucerne, and I need not tell you how glad I shall be to see you. But can I not persuade you to prolong your stay in Lucerne for a little, in order that the pleasure you grant me may not be too soon over?

"I suppose that you are going to Munich for the exhibition of paintings; yet, as I venture to believe that you would be glad to hear some one of my works, I must tell you that the representations of Tannhäuser, Lohengrin, Tristan, and the Meistersinger took place in the month of June; the theatre is closed at present, and the Rheingold will not be given before the 25th August, if, indeed, it is given at all.

"But I hope that neither the postponement of the exhibition nor the closing of the theatre will delay your visit to Lucerne; on the contrary, I shall hope that your stay here may be prolonged.

"Please send me a line, telling me the day of your arrival, and accept again the assurance of my sincere regard.

"RICHARD WAGNER."

By an exchange of telegrams I was assured that the Master would also welcome my companions, like myself his ardent disciples—and off we started.

The last night we slept at Basle, where we had an adventure which made a vivid impression upon us all. We arrived at night, and after dining, we attempted to see what we could of the city, in spite of the darkness. We found ourselves in a maze of narrow streets, dimly lighted at long intervals. Rather bewildered, we went on across thoroughfares and squares where large fountains could be seen, only to find ourselves again in narrow lanes.

At last we emerged into a wide, open place, which the sky helped to make a little lighter; a deep and continuous roaring pervaded it, which quite appalled us, and made us advance with great precaution. This tremendous volume of sound was produced by the Rhine. It is very wide at this point and rushes through Basle with the violence of a torrent.

Stopping in the middle of the bridge, we leaned over the parapet, and watched the ink-black river hurling itself on into the night, bearing with it the shattered reflections of the stars, and seeming to long to carry away the bridge also, and even the city.

A large moon, red as glowing embers, rose above the gables and irregular outlines of the houses along the river-bank. It cast across the river a crimson trail, which was wildly tossed and scattered by the waves.

We lingered there, spell-bound by this sight, when, suddenly, we heard a song, that seemed to rise clear and strong out of the tumult of waters. Could we be dreaming? It was well known to us. The sailors' song from The Flying Dutchman. What! Did that ill-omened ship come to roam by night upon this impassable stream? Bending lower, we peered into the black water, but we could see nothing; yet now the voices were very near—it seemed as if the invisible ship were passing under the arch of the bridge itself.

We were greatly agitated, but when the voices were silent, we went away without wishing to fathom the mystery, shunning the possible discovery of some cheerful tavern concealed in a recess of the high bank, where lusty Swiss peasants found shelter, and grouped about their mugs of foaming beer, sang with their clear, sonorous voices the song that had so mystified us.

Now, while the train crept along, we recalled this episode of our pilgrimage, and it seemed to us a happy omen.

For the first time we had been able to listen with an untroubled enjoyment to a passage from the Master. In Paris, it was always in a state of feverish excitement—with watchful eyes and fists clenched, ready to pounce upon the interrupters—that we absorbed the new music.

Outside our own country, it appeared, the cause was already won, and the music of Richard Wagner already popular. Very slowly we counted off the different stations, and at length we were approaching the last one. Our excitement increased. We were overcome by a sort of sacred terror. We searched among the gods of art for the one who should appear to us greater than this one, into whose presence we should so soon be ushered—for that one in the whole sublime Olympus of geniuses whom we could prefer to him, or whom we would rather see, could we be given the power to choose.

Homer, Æschylus, Dante, Goethe, Beethoven, we named them all. Even the divine Shakespeare failed to make us hesitate. To us the name of Wagner flamed higher, with a more magical lustre.

He was Orpheus and Apollo both, blended to one lyre. Poet, musician,