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<pb id="pag46"/>
<head>An End in Paris</head>

<note id="rn1" corresp="n1" place="unspecified" anchored="yes"/>

<p><hi rend="up">We</hi> have just laid him in the earth. It was cold
and dreary weather, and few there were of us. The Englishman, too,
was there: he wants to erect a memorial to him; 'twere better he
paid our friend's debts.</p>

<p>It was a mournful ceremony. The first keen wind
of winter cut the breath; no one could speak, and the funeral
oration was omitted. Nevertheless I would have you to know that he
whom we buried was a good man and a brave German musician. He had a
tender heart, and wept whenever men hurt the poor horses in the
streets of Paris. He was mild of temper, and never put out when the
street-urchins jostled him off the narrow pavement. Unfortunately
he had a sensitive artistic conscience, was ambitious, with no
talent for intrigue, and once in his youth had seen Beethoven,
which so turned his head that he could never set it straight in
Paris.</p>

<p>It is more than a year since I one day saw a
magnificent Newfoundland dog taking a bath in the fountain of the
Palais Royal. Lover of dogs that I am, I watched the splendid
animal; it left the basin at last, and answered the call of a man
who at first attracted my attention merely
<pb id="pag47" n="47"/>
as the owner of this
dog. The man was by no means so fair to look on, as his dog; he was
clean, but dressed in God knows what provincial fashion. Yet his
features arrested me; soon I distinctly remembered having seen them
before; my interest in the dog relaxed; I fell into the arms of my
old friend R . . . .</p>

<p>We were delighted at meeting again; he was quite
overcome with emotion. I took him to the <hi>Café de la
Rotonde</hi>; I drank tea with rum,—he, coffee with tears.</p>

<p>"But what on earth," I began at last, "can have
brought you to Paris—you, the musical hermit of the fifth
floor of a provincial back-street?"</p>

<p>"My friend," he replied, "call it the
over-earthly passion for experiencing what life is like on a
Parisian sixth, or the worldly longing to see if I might not be
able in time to descend to the second, or even the first,—I
myself am not quite certain which. At anyrate I couldn't resist the
temptation of tearing myself from the squalor of the German
provinces, and, without tasting the far sublimer pinches of a
German capital, throwing myself straight upon the centre of the
world, where the arts of every nation stream together to one focus;
where the artists of each race find recognition; and where I hope
for satisfaction of the tiny morsel of ambition that
Heaven—apparently in inadvertence—has set in my own
breast."</p>

<p>"A very natural desire," I interposed; "I
forgive it you, though in yourself it astonishes me. But first let
us see what means you have of pursuing your ambitious purpose. How
much money a-year can you draw?—Oh, don't be alarmed! I know
that you were a poor devil, and it is self-evident that there can
be no question of a settled income. Yet I am bound to suppose
either that you have won money in a lottery, or enjoy the
protection of some rich patron or relative to such a degree that
you are provided for ten years, at least, with a passable
allowance."</p>

<p>"That is how you foolish people look at things!"
replied my friend, with a good-humoured smile, after recovering
from his first alarm. "Such are the prosaic details that
<pb id="pag48" n="48"/>
rise at once before your eyes as chief concern. Nothing of the kind, my
dear friend! I am poor; in a few weeks, in fact, without a sou. But
what of that? I have been told that I have talent;—was I to
choose <hi>Tunis</hi> as the place for pushing it? No; I have come to
<hi>Paris</hi>! Here I shall soon find out if folk deceived me when
they credited me with talent, or if I really own any. In the first
case I shall be quickly disenchanted, and, clear about myself,
shall journey back contented to my garret-home; in the second case
I shall get my talent more speedily and better paid in Paris, than
anywhere else in the world.—Nay, don't smile, but try to
raise some serious objection!"</p>

<p>"Best of friends," I resumed, "I smile no
longer; for I now am possessed by a mournful compassion for
yourself and your splendid dog. I know that, however frugal
yourself, your magnificent beast will eat a good deal. You intend
to feed both him and yourself by your talent? That's grand; for
self-preservation is the first duty, and human feeling for the
beasts a second and the noblest. But tell me: how are you going to
bring your talent to market? What plans have you made? Let me hear
them."</p>

<p>"It is well that you ask for my plans," was the
answer. "You shall have a long list of them; for, look you, I am
rich in plans. In the first place, I think of an opera: I am
provided with finished works, with half-finished, and with any
number of sketches for all kinds—both grand and comic
opera.—Don't interrupt!—I'm well aware that these are
things that will not march too quickly, and merely consider them as
the basis of my efforts. Though I dare not hope to see one of my
operas produced at once, at least I may be permitted to assume that
I shall soon be satisfied as to whether the Directors will accept
my compositions or not—For shame, friend—you're smiling
again! Don't speak! I know what you were going to say, and will
answer it at once.—I am convinced that I shall have to
contend with difficulties of all sorts here also; but in what will
they consist? Certainly in nothing but competition. The most
eminent talents converge here, and offer their
<pb id="pag49" n="49"/>
works for acceptance; managers are therefore compelled to exercise a
searching scrutiny: a line must be drawn against bunglers, and none
but works of exceptional merit can attain the honour of selection.
Good! I have prepared myself for this examination, and ask for no
distinction without deserving it. But what else have I to fear,
beyond that competition? Am I to believe that here, too, one 'needs
the wonted tactics of servility?
<note id="rn2" corresp="n2" place="unspecified" anchored="yes"/>
Here in Paris, the capital of free France, where a Press exists that
unmasks and makes impossible all humbug and abuse; where merit
alone can win the plaudits of a great incorruptible public?"</p>

<p>"The public?" I interrupted; "there you are
right. I also am of opinion that, with your talent, you well might
succeed, had you only the public to deal with. But as to the
easiness of reaching that public you hugely err, poor friend! It is
not the contest of talents, in which you will have to engage, but
the contest of reputations and personal interests. If you are sure
of firm and influential patronage, by all means venture on the
fight; but without this, and without money,—give up, for
you're sure to go under, without so much as being noticed. It will
be no question of commending your work or talent (a favour
unparalleled!), but what will be considered is the name you bear.
Seeing that no renommée attaches to that name as yet, and it
is to be found on no list of the moneyed, you and your talent
remain in obscurity."
<note id="rn3" corresp="n3" place="unspecified" anchored="yes"/>
</p>

<pb id="pag50" n="50"/>

<p>My objection failed to produce the intended
effect on my enthusiastic friend. He turned peevish, but refused to
believe me. I went on to ask what he thought of doing as a
preliminary, to earn some little renommée in another
direction, which perchance might be of more assistance to the later
execution of his soaring plan.</p>

<p>This seemed to dispel his ill-humour.</p>

<p>"Hear, then!" he answered: "You know that I have
always had a great preference for instrumental music. Here, in
Paris, where a regular cult of our great Beethoven appears to have
been instituted, I have reason to hope that his fellow-countryman
and most ardent worshipper will easily find entrance when he
undertakes to give the public a hearing of his own attempts,
however feeble, to follow in the footsteps of that unattainable
example."</p>

<p>" Excuse me for cutting you short," I
interposed. "Beethoven is getting deified,—in that you are
right; but mind you, it is his name, his renown that is deified.
That name, prefixed to a work not unworthy of the great master,
will suffice to secure its beauties instant recognition. By any
other name, however, the selfsame work will never gain the
attention of the directorate of a concert-establishment for even
its most brilliant passages."
<note id="rn4" corresp="n4" place="unspecified" anchored="yes"/>
</p>

<p>"You lie!"—my friend rather hastily
exclaimed. "Your purpose is becoming clear, to systematically
discourage me, and scare me from the path of fame. You shall not
succeed, however!"</p>

<p>"I know you," I replied, "and forgive you.
Nevertheless I must add that in your last proposal you will stumble
on the very same difficulties, which rear themselves against every
artist without renown, however great his talent, in a place where
people have far too little time to bother themselves
<pb id="pag51" n="51"/>
about hidden treasures. Both plans are modes of fortifying an already
established position, and gaining profit from it, but by no manner
of means of creating one. People will either pay no heed at all to
your application for a performance of your instrumental
compositions, or—if your works are composed in that daring
individual spirit which you so much admire in Beethoven, they will
find them turgid and indigestible, and send you home with a flea in
your ears."
<note id="rn5" corresp="n5" place="unspecified" anchored="yes"/>
</p>

<p>"But," my friend put in, "what if I have already
circumvented such a reproach? What if I have written works
expressly to aid me with a more superficial public, and adorned
them with those favourite modern effects which I abhor from the
bottom of my heart, but are not despised by even considerable
artists as preliminary bids for favour?"</p>

<p>"They will give you to understand," I replied, "that your
work is too light, too shallow, to be brought to the
public ear between the creations of a Beethoven and a Musard."</p>

<p>"Dear man!" my friend exclaimed, "That's good
indeed! At last I see that you are making fun of me. You always
were a wag!"</p>

<p>My friend stamped his foot in his laughter, and
trod so forcibly upon the lordly paw of his splendid dog that the
latter yelped aloud, then licked his master's hand, and seemed to
humbly beg him to take no more of my objections as jokes.</p>

<p>"You see," I said, "it is not always well to
take earnestness as jest. Passing that by, come tell me what other
plans could have moved you to exchange your modest home for this
monster of a Paris. In what other way, if you will please me by
provisionally abandoning the two you have spoken of, do you propose
to get the requisite renown?"</p>

<p>"So be it," was the reply I received. "In spite
of your singular love of contradiction, I will proceed with the
narration of my plans. Nothing, as I know, is more popular in Paris
drawing-rooms than those charming sentimental
<pb id="pag52" n="52"/>
ballads and romances,
which are just to the taste of the French people, and some of which
have even emigrated from our fatherland. Think of Franz Schubert's
songs, and the vogue they enjoy here! This is a genre that
admirably suits my inclination; I feel capable of turning out
something worth noticing there. I will get my songs sung, and
perchance I may share the good luck which has fallen to so
many—namely of attracting by these unpretentious works the
attention of some Director of the Opéra who may happen to be
present, so that he honours me with the commission for an
opera."</p>

<p>The dog again uttered a violent howl. This time
it was I who, in an agony of laughter, had trodden on the paw of
the excellent beast.</p>

<p>"What!" I cried, "is it possible that you
seriously entertain such an idiotic idea? What on earth could
entitle you—"</p>

<p>"My God!" the enthusiast broke in; "have not
similar cases happened often enough? Must I bring you the
newspapers in which I have repeatedly read how such-and-such a
Director was so carried away by the hearing of a Romance, how
such-and-such a famous poet was suddenly so impressed by the talent
of a totally unknown composer, that both of them at once united in
the resolve, the one to supply him with a libretto, the other to
produce the opera to-be-written to order?"</p>

<p>"Ah! is that it?" I sighed, filled with sudden
sadness; "Press notices have led astray your simple childlike head?
Dear friend, of all you come across in that way take note of but a
third, and even of that don't trust four quarters! Our Directors
have something else to do, than to hear Romances sung and fall into
raptures over them.
<note id="rn6" corresp="n6" place="unspecified" anchored="yes"/>
And, admitting that to be
a feasible mode of gaining a reputation,—by whom would you
get your Romances sung?"</p>

<p>"By whom else," was the rejoinder, "than the
same world-famed singers who so often, and with the greatest
<pb id="pag53" n="53"/>
amiability, have made it their duty to introduce the productions
of unknown or downtrod talent to the public? Or am I here again
deceived by lying paragraphs?"</p>

<p>"My friend," I replied, "God knows how far I am
from wishing to deny that noble hearts of this kind beat below the
throats of our foremost singers, male and female. But to attain the
honour of such patronage, one needs at least some other essentials.
You can easily imagine what competition goes on here also, and that
it requires an infinitely influential recommendation, to make it
dawn upon those noble hearts that one in truth is an unknown
genius.—Poor friend, have you no other plans?"</p>

<p>Here my companion took leave of his senses. In a
violent passion—though with some regard for his dog— he
turned away from me. "And had I as many more plans as the sands of
the sea," he shouted, "you should not hear a single one of them.
Go! You are my enemy!—Yet know, inexorable man, you
shall not triumph over me! Tell me—the last question I will
put to you—tell me, wretch, how then have the myriads
commenced, who first became known, and finally famous, in Paris
?"</p>

<p>"Ask one of them," I replied, in somewhat
ruffled composure, "and perhaps you may discover. For my part, I
don't know."</p>

<p>"Here, here!" called the infatuate to his
wonderful dog. "You are my friend no longer,"—he volleyed at
me,—"Your cold derision shall not see me blench. <hi>In one
year from</hi> now—remember this—<hi>in one year from now
every gamin shall be able to tell you where I live, or you shall
hear from me whither to come—to see me die</hi>. Farewell!"</p>

<p>He whistled shrilly to his dog,—a discord.
He and his superb companion had vanished like a lightning-flash.
Nowhere could I overtake them.</p>

<milestone unit="section" rend="hr"/>

<p>It was only after a few days, when all my
efforts to ascertain the dwelling of my friend had proved futile,
that I began to realise the wrong I had done in not shewing more
consideration for the peculiarities of so profoundly
<pb id="pag54" n="54"/>
enthusiastic a nature, than unfortunately had been the case with my tart,
perhaps exaggerated, objections to his very innocent plans. In the good
intention of frightening him from his projects as much as possible,
because I did not deem him fitted either by his outward or his
inward condition to successfully pursue so intricate a path of
fame—in this good intention, I repeat, I had not reckoned
with the fact that I had by no means to do with one of those
tractable and easily-persuaded minds, but with a man whose deep
belief in the divine and irrefutable truth of his art had reached
such a pitch of fanaticism, that it had turned one of the gentlest
of tempers to a dogged obstinacy.</p>

<p>For sure—I could but think—he now is
wandering through the streets of Paris with the firm conviction
that he has only to decide which of his plans he shall realise
first, in order to figure at once on one of those advertisements
that, so to say, make out the vista of his scheme. For sure, he is
giving an old beggar a sou to-day, with the determination to make
it a napoleon a few months hence.</p>

<p>The more the time slipped by since our last
parting, and the more fruitless became my endeavours to unearth my
friend, so much the more—I admit my weakness—was I
infected by the confidence he then displayed; so that I allowed
myself at last to search the advertisements of musical
performances, now and again, with eyes astrain to spy out in some
corner of them the name of my assured enthusiast. Yes, the smaller
my success in these attempts at discovery, the more—remarkable
to say!—was my friendly interest allied with an
ever-increasing belief that my friend might not impossibly succeed;
that perchance even now, while I was seeking anxiously for him, his
peculiar talent might already have been discovered and acknowledged
by some important person or other; that perhaps he had received one
of those commissions whose happy execution brings fortune, honour,
and God knows what beside. And why not? Is there no star that rules
the fate of each inspired soul? May not his be a star of luck?
<pb id="pag55" n="55"/>
Cannot miracles take place, to expose a hidden treasure?—The
very fact of my nowhere seeing the announcement of a single
Romance, an Overture or the like, under the name of my friend, made
me believe that he had gone straight for his grandest plan, and,
despising those lesser adits to publicity, was already up to his
eyes in work on an opera of at least five acts. True, I had never
come across him in the haunts of artists, or met a creature who
knew anything about him; still, as my own access to those
sanctuaries was but rare, 'twas conceivable that it was <hi>I</hi> who
was the unfortunate that could not penetrate where his fame maybe
already shone with dazzling rays.—</p>

<p>You may easily guess that it needed a
considerable time, for my first sad interest in my friend to change
into a confident belief in his good star. It was only through all
the phases of fear, of doubt, of hope, that I could arrive at this
point. Such things are somewhat slow with me, and so it happened
that almost a year had already elapsed since the day when I met a
splendid dog and an enthusiastic friend in the Palais Royal.
Meanwhile some wonderfully lucky speculations had brought me to so
unprecedented a pitch of prosperity that, like Polycrates of old, I
began to fear an imminent reverse. I fancied I could plainly see it
coming; thus it was in a gloomy frame of mind, that I one day took
my customary walk in the Champs Élysées.</p>

<p>'Twas autumn; the leaves fell withered from the
trees, and the sky hung grey with age above the Elysian pomp below.
But, nothing daunted, Punch renewed his old mad onslaught; in blind
rage that scoundrel constantly defied the justice of this world,
until at last the dæmonic principle, so forcibly depicted .by the
chained-up cat, with super-human claws laid low the saucy bounce of
the presumptuous mortal.</p>

<p>Close by my side, a few paces from the humble scene of Polichinel's
misdeeds I heard the following remarkable soliloquy in German:—</p> 

<p>"Excellent! excellent! Where, in the name of all the world, have
I allowed myself to seek, when I could have 
<pb id="pag56" n="56"/>
found so near? What! Am
I to despise this stage, on which the most thrilling political and
poetic truths are set in realistic dress, so directly and
intelligibly, before the most receptive and least assuming public?
Is this braggart not Don Juan? Is that terribly fair white cat not
the Commander on horseback, in very person?—How the artistic
import of this drama will be heightened and transfigured when my
music adds its quota!—What sonorous organs in these
actors!—And the cat—ah, that cat! What hidden charms lie
buried in her glorious throat!—Now she gives no
sound—now she is still mere demon:—but how she will
fascinate when she sings the roulades I'll write expressly for her!
What a magnificent <hi>portamento</hi> she'll put into the execution
of that supernatural chromatic scale!—How treacherous
will be her smile, when she sings that famous passage
of the future: "<hi>O Polichinel, thou art lost</hi>!"— —What
a plan!—And then, what a splendid
pretext for incessant use of the big drum, will Punch's constant
truncheon-beats afford me!—Come, why delay? Quick, for the
Director's favour! Here I can walk straight in,—no
ante-chambers here! With one step I'm in the sanctuary—before
him whose god-like piercing eye will recognise at once my genius.
Or must I light on competition here as well ?—Should the
cat—?—Quick, ere it is too late!"</p>

<p>With these last words the soliloquist was about
to make straight for the Punch-and-Judy box. I had speedily
recognised my friend, and determined to avert a scandal. I seized
him by the arm, and span him round towards me.</p>

<p>"Who is it?"—he pettishly cried. He soon
remembered me, quietly detached himself, and added coldly: "I might
have known that it could only be <hi>you</hi>, that would thwart me
in this step as well, the last for my salvation.—Leave me; it
may become too late."</p>

<p>I grasped him afresh; but, though I was able to
keep him from rushing forward to the little theatre, it was quite
impossible to move him from the spot. Still, I gained the leisure
to observe him closely. Great heavens, in what a
<pb id="pag57" n="57"/>
condition he was !
I say nothing of his dress, but of his features; the former was
poor and threadbare, but the latter were terrible. The free and
open look was gone; lifeless and vacant, his eye travelled to and
fro; his pallid, sunken cheeks told not alone of trouble,—the
hectic flush upon them told of sufferings too,—of hunger!</p>

<p>As I studied him with deepest sorrow, he too
seemed touched, for he struggled less to tear himself away from
me.</p>

<p>"How goes it with you, dear R . . .?" I asked
with choking voice. With a mournful smile I added: "Where is your
beautiful dog?"</p>

<p>He looked black at once. "Stolen!" was the abrupt reply.</p>

<p>"Not sold?" I asked again.</p>

<p>"Wretch," he sullenly replied, "are you also like the Englishman?"</p>

<p>I did not understand his meaning. "Come," I said
in faltering tones—"come! take me to your house; I have much
to speak with you."</p>

<p>"You soon will know my house without my aid," he
answered, "the year is not yet up. I'm now on the high road to
recognition, fortune!—Go, you do not yet believe it! What
boots it to preach to the deaf? You people must <hi>see,</hi> to
believe; very good! You soon shall see. But loose me now, if I am
not to take you for my sworn foe."</p>

<p>I held his hands the faster. "Where do you
live?" I asked. "Come, take me there! We'll have a friendly, hearty
chat,—about your plans, if it must be!"</p>

<p>"You shall learn them as soon as they are
carried out," he answered. "Quadrilles, galops ! Oh, that is my
forte!—You shall see and hear!—Do you see that
cat?—She's to help me to fat fees!—See how sleek she is,
how daintily she licks her chops! Imagine the effect when from that
little mouth, between those pearly rows of teeth, the most inspired
of chromatic scales well forth, accompanied by the most delicate
moans and sobs in all the world ! Imagine
<pb id="pag58" n="58"/>
it, dear friend! Oh, you have no fancy, you!—Leave me,
leave me!—You have no phantasy!"</p>

<p>I held him tighter, and implored him to conduct
me to his lodgings; without making the slightest impression,
however. His eye was fixed with anxious strain upon the cat.</p>

<p>"Everything depends on her," he cried. "Fortune,
honour, fame, reside within her velvet paws. May Heaven guide her
heart, and turn on me her favour!—She looks
friendly,—yes, that's the feline nature ! And she <hi>is</hi>
friendly, polite, polite beyond measure! But she's a cat, a false
and treacherous cat!—Wait,—thee at least I can rule! I
have a noble dog; he'll make thee respect me.—Victory! I've
won the day!—Where is my dog?"</p>

<p>He had shot forth the last few words in mad
excitement, with a piercing cry. He looked hastily round, as if
seeking for his dog. His eager glance fell on the roadway. There
rode upon a splendid horse an elegant gentleman, by his physiognomy
and the peculiar cut of his clothes an Englishman; by his side ran,
proudly barking, a fine Newfoundland dog.</p>

<p>"Ha! my presentiment!" shrieked my friend, in
a fury of wrath at the sight. "The cursed brute ! My dog; my dog !"
My strength was unavailing against the violence with which the
unhappy creature tore himself away. Like an arrow he fled after the
horseman, who happened just then to be spurring his horse to a
gallop, which the dog accompanied with the liveliest gambols. I
rushed after—in vain! What effort of strength can compare
with the feats of a madman?—I saw the rider, the dog, and my
friend, all vanish down one of the side streets that lead to the
Faubourg du Roule. When I reached the same street, they were
gone.</p>

<p>Suffice it to mention that all my endeavours to track them were
fruitless.—</p>

<p>Alarmed, and almost driven to madness myself I
was forced at last to give up my inquiries for the moment. But you
may readily imagine that I none the less bestirred
<pb id="pag59" n="59"/>
myself each day to find some clue to the retreat of my unhappy friend. I
sought for news in every place that had the remotest connection with
music:—nowhere the smallest intimation ! It was only in the sacred
ante-chambers of the Opéra that the subordinates remembered
a pitiable apparition, which had often presented itself and waited
for an audience, but of whose name or dwelling they naturally were
ignorant. Every other path, even that of the police, led to no
surer traces; the very guardians of the public safety seemed to
have thought it needless to worry themselves about the poor soul.</p>

<p>I fell into despair. Then one day, about two
months after that affair in the Champs Élysées, I
received a letter sent me in a roundabout fashion through one of my
acquaintances. I opened it with a heavy heart, and read the brief
words:</p>

<p>"<hi>Dear friend, come and see me die</hi>!"</p>

<p>The address denoted a narrow little street on
Montmartre.—It was no time for tears, and I ascended the
hill of Montmartre. Following my directions, I arrived at one of
those poverty-stricken houses which are common enough in the
side-alleys of that little town. Despite its poor exterior, this
building did not fail to rear itself to a <hi>cinquième</hi>;
my unfortunate friend would appear to have welcomed the fact, and
thus I also was compelled to mount to the same giddy height. It was
worth the while, for, on asking for my friend, I was referred to
the back attic; from this hinder side of the estimable building one
certainly forwent all outlook on the four-foot-wide magnificence of
the causeway, but was rewarded by the incomparably finer one on the
whole of Paris.</p>

<p>I found my poor enthusiast propped-up on a
wretched sick-bed, drinking in this wonderful prospect. His face,
his whole body, were infinitely more haggard and emaciated than on
that day in the Champs Élysées; nevertheless the
expression of his features was far more reassuring. The scared,
wild, almost maniacal look, the uncanny fire in his eyes, had
vanished; his glance was dulled and half-extinguished;
<pb id="pag60" n="60"/>
the dark and ghastly flecks upon his cheeks seemed quenched in a
universal wasting.</p>

<p>Trembling, but still composed, he stretched his
hand to me with the words: "Forgive me, old fellow, and take my
thanks for coming."</p>

<p>The softness and sonority of the tone in which
he uttered these few words produced on me an even more touching
impression, if possible, than his appearance had already done. I
pressed his hand, but could not speak for weeping.</p>

<p>"I think,"—went on my friend, after an
affecting pause,—"it is already well over a year, since we
met in that glittering Palais Royal;—I have not quite kept
my word:—to become renowned within a year, was impossible to
me, with the best will in the world; on the other hand it's no
fault of mine that I could not write you punctually upon the year's
elapse, where you must come to see me die:'spite all my struggles,
I had not yet got quite so far.—Nay, do not weep, my friend
! There was a time when I must beg you not to laugh."</p>

<p>I tried to speak, but speech forsook me.—"Let
 me speak!" the dying man put in: "it is becoming easy to me,
and I owe you a long account. I'm sure that I shall not be here
to-morrow, so listen to my narrative to-day 'Tis a simple tale, my
friend!—most simple. In it you'll find no wondrous
complications, no hair-breadth strokes of luck, no ostentatious
details. Fear not that your patience will be wearied by the
easiness of speech which now is granted me, and certainly might
tempt me to long-windedness; for there have been days, dear old
man, when I couldn't utter a sound. Listen!—When I reflect
on the state in which you find me, I hold it needless to assure you
that my fate has been no bright one. Nor do I altogether need to
count you up the trivialities among which my enthusiasm has come to
ground. Suffice it to say, that they were no <hi>breakers,</hi> on
which I foundered!—Happy the shipwrecked who goes down in
<hi>storm</hi>!—No: they were <hi>quagmires</hi> and
<hi>swamps</hi>, in which I sank. These swamps, dear friend, surround
all proud and dazzling Art-fanes, to
<pb id="pag61" n="61"/>
which we poor fools make such
ardent pilgrimage, as though they held the saving of our souls.
Happy the feather-brained ! With one successful entrechat he leaps
the quagmire. Happy the rich ! His well-trained horse needs but one
prick of the golden spur, to bear him swiftly over. But woe to the
enthusiast who, taking that swamp for a flowery meadow, is
swallowed in it past all rescue, a meal for frogs and toads!—See,
dear friend, this vermin has devoured me; there's not
a drop of blood left in me!— —Must I tell you
how it happened? But why? You see me done for;—be content to
hear that I was not vanquished on the field of battle,
but—horrible to utter—in <hi>the Ante-chambers of Hunger
I fell</hi>!—They are something terrible, those
Ante-chambers; and know that there are many, very many of them in
Paris,—with seats of wood or velvet, heated and not heated,
paved and unpaved!—"</p>

<p>"In those Ante-chambers,"—continued my
friend,—"I dreamed away a fair year of my life. I dreamt of
many wondrous mad and fabled stories from the 'Thousand-and-one
Nights," of men and beasts, of gold and offal. My dreams were of
gods and contrabassists, of jewelled snuff-boxes and prima-donnas,
of satin gowns and lovesick lords, of chorus-girls and five-franc
pieces. Between I sometimes seemed to hear the wailing, ghost-like
note of an oboe; that note thrilled through my every nerve, and
cut my heart. One day when I had dreamed my maddest, and that
oboe-note was tingling through me at its sharpest, I suddenly awoke
and found I had become a madman. At least I recollect, that I had
forgotten to make my usual obeisance to the theatre-lackey as I
left the anteroom,—the reason, I may add, of my never daring
to return to it; for <hi>how</hi> would the man have received
me?—With tottering steps I left the haven of my dreams; on the
threshold of the building I fell of a heap. I had stumbled over my
poor dog, who, after his wont, was ante-chambering in the street,
in waiting for his fortunate master who was allowed to ante-chamber
among men. This dog, I must tell you, had been of the utmost
service to me, for to him and his beauty
<pb id="pag62" n="62"/>
alone I owed it that now
and then the lackey of the ante-chamber would honour me with a
passing glance. Alas ! with every day he lost a portion of his
beauty, for hunger gnawed his entrails too. This gave me fresh
alarm, as I clearly foresaw that the servant's favour would soon be
lost to me; already a contemptuous smile would often purse his
lips.—As said, I fell over this dog of mine. How long I lay,
I know not; of the kicks which I may have received from passers-by
I took no notice; but at last I was awoken by the tenderest
kisses,—the warm licks of my dear beast. I leapt to my feet,
and in a lucid interval I recognised at once my weightiest duty: to
buy the dog some food. A shrewd <hi>Marchand d'Habits</hi> gave me a
handful of sous for my villainous waistcoat. My dog ate, and what
he left I devoured. With <hi>him</hi> this answered admirably, but I
was past mending. The produce of an heirloom, an old ring of my
grandmother's, sufficed to restore the dog to his ancient beauty;
he bloomed afresh—oh, fatal blooming!</p>

<p>"With my brain it grew ever darker; I know not
rightly what took place within it,—but I remember being
seized one day by an irresistible longing to seek out the Devil. My
dog, in all his former glory, accompanied me to the gates of the
<hi>Concerts Musard</hi>. Did I hope to meet the Devil, there? That
also I cannot tell. I scanned the people trooping in, and whom did
I espy among them? The abominable <hi>Englishman</hi>: the same, as
large as life, and not one atom changed from when, as I related to
you, he harmed me so with Beethoven!—Fear took me; I was
prepared to face a demon from the nether world, but never more this
phantom of the upper. O how I felt, when the wretch also recognised
<hi>me</hi>! I couldn't avoid him,—the crowd was pressing us
towards each other. Involuntarily, and quite against the customs of
his countrymen, he was compelled to fall into my arms, raised up to
force myself an exit. There he lay, wedged tight against my breast,
with its thousand torturing emotions. It was a fearful moment ! We
were soon released a little, and he shook
<pb id="pag63" n="63"/>
me off with a shade of
indignation. I tried to escape; but it still was
impossible.—'Welcome, mein Herr!'—the Briton
shouted:—'I always meet you on the ways of Art This time we'll go
to <hi>Musard</hi>!'—For very wrath I could say nothing but:
'To the Devil!'—'Quite so,' he answered, 'it seems that
things go devilish there!—Last Sunday I threw off a
composition, which I shall offer to Musard. Do you know this
Musard? Will you introduce me to him?'</p>

<p>"My horror at this bugbear turned to speechless
fear; impelled by it, I gained the strength to free myself and flee
towards the Boulevard; my lovely dog rushed barking after me. But
in a trice the Englishman was by my side once more, holding me, and
asking in excited tones: 'Sir, does this splendid dog belong to you?
Yes.'—'But it is superb! Sir, I will pay you fifty
guineas for this dog. A dog like this, you know, is the proper
thing for a gentleman, and I have already owned a number of them.
Unfortunately, the beasts were all unmusical; they could not stand
my practising the horn or flute, and so they always ran away. But I
take it for granted that, as you have the good fortune to be a
musician, your dog is musical also; I accordingly may hope that he
will stop with me. So I offer you fifty guineas for the
beast.'—'Villain!' I cried:—'not for the whole of
Britain would I sell my friend !' So saying, I hurried off, my dog
in front. I dodged down the back streets that led to my usual
night's-lodging—It was bright moonshine; now and then I
looked furtively back:—to my alarm, I thought I saw the
Englishman's long figure following me. I redoubled my pace, and
peered round still more anxiously; now I caught sight of the
shadow, now lost it. Panting for breath, I reached my refuge, gave
my dog to eat, and threw myself all hungry on my rough, hard
bed.—I slept long, and dreamt of horrors. When I
awoke,—my beautiful dog had vanished. How he had got away
from me, or been enticed through the badly fastened door, to this
day is a mystery to me. I called, I hunted for him, till sobbing I
fainted away.—</p>

<pb id="pag64" n="64"/>

<p>"You remember that I saw the faithless one again
one day in the Champs Élysées;—you know what
efforts I made to regain possession of him;—but you do not
know that this animal recognised me, yet fled from my call like an
untamed beast of the wilderness ! Nevertheless I followed him and
his Satanic cavalier till the latter dashed into a gateway, whose
doors were slammed behind him and the dog. In my anger I thundered
at the gates;—a furious bark was the answer.—Dazed and
crushed, I leant against the archway,—until at last a hideous
scale on the horn aroused me from my stupefaction; it reached me
from the ground-floor of the mansion, and was followed by the
agonised moan of a dog. Then I laughed out loud, and went my
way.—"</p>

<p>My friend here ceased; though speech had become
easy, his inward agitation taxed him terribly. It was no longer
possible for him to hold himself erect in bed,—with a
smothered groan he sank back.—A long pause occurred; I
watched the poor fellow with painful feelings: that faint flush so
peculiar to the consumptive had risen to his cheeks. He had closed
his eyes, and lay as if in slumber; his breath came lightly, almost
in ethereal waves.</p>

<p>I waited anxiously for the moment when I durst
speak to him, and ask what earthly service I could render.—At
last he opened his eyes once more; a dim but wondrous light was in
the glance he straightway fixed on me.</p>

<p>"My poor friend,"—I began—"I came
here with the sad desire to serve you somehow. Have you a wish, O
speak it !"</p>

<p>With a smile he resumed: "So impatient, friend,
for my last testament?—Nay, have no care; you too are
mentioned in it.—But will you not first learn how it befell
that your poor brother came to die? Look you, I wished my history
to be known to <hi>one</hi> soul at the least; but I know of no one
who would worry himself about me, unless it be
<hi>yourself</hi>— —Fear not that I am overexerting
myself! 'Tis well with me and easy—no laboured breath
oppresses me—the words come freely to my lips.—And see,
I have little left
<pb id="pag65" n="65"/>
to narrate. You can imagine that, from the point
where I broke off my story, I had no more outer incidents to do
with. From there begins the history of my inner life, for then I
knew I soon should die. That terrible scale on the horn in the
Englishman's hôtel filled me with so overpowering a weariness
of life, that I there and then resolved to die. Indeed, I should
not boast of that decision, for I must confess that it no longer
lay entirely within my own free will. Something had cracked within
my breast, that left a long and whirring sound behind;—when
this died out 'twas light and well with me, as never before, and I
knew my end was near. O how happy that conviction made me ! How the
presage of a speedy dissolution cheered me, as I suddenly perceived
its work in every member of this wasted body!—Insensible to
outward things, unconscious where my faltering steps were bearing
me, I had gained the summit of Montmartre. Thrice welcoming the
Mount of Martyrs, I resolved on it to die. I too was dying for the
wholeness of my faith; I too could therefore call myself a martyr,
albeit this my faith was challenged by none else—than
Hunger.</p>

<p>"Houseless, I took this lodging, asking nothing
further than this bed, and that they would send for my scores and
papers, which I had stowed in a wretched hovel of the city; for,
alas ! I had never succeeded in pawning them. So here I lie,
determined to pass away in God and pure Music. A friend will close
my eyes, my effects will cover all my debts, and for a decent grave
I shall not want.—Say, what more could I wish?"</p>

<p>At last I gave vent to my pent-up
feelings.—"What !" I cried, "was it only for this last
mournful service, that you could use me? Could your friend, however
powerless, have helped you in nothing else? I conjure you, for my
peace of mind tell me this: Was it a doubt of my friendship, that
kept you from discovering my whereabouts and acquainting me before
with your distress?"</p>

<p>"O don't be angry," he answered coaxingly, "don't chide me if I
own that I had fallen into the stubborn belief that you
<pb id="pag66" n="66"/>
were my enemy! When I recognised that you were not, my
brain was already in a condition that robbed me of all
responsibility of will. I felt that I was no longer fit to
associate with men of sense. Forgive me, and be kindlier toward me,
than I have been to you!—Give me your hand, and let this
debt of my poor life be cancelled!"</p>

<p>I could not resist, but seized his hand, and
melted into tears. Yet I saw how markedly the powers of my friend
were ebbing; he was now too weak to raise himself in bed; that
flickering flush came ever paler to his sunken cheeks.</p>

<p>"A little business, dear chum," he began afresh.
"Call it my last Will ! For I will, in the first place: that my
debts be paid. The poor people who took me in, have nursed me
willingly and dunned me little; they must be paid. The same with a
few other creditors, whose names you will find on that paper. I
bequeath all my property in payment, there my compositions and here
my diary, in which I have jotted down my musical whims and
reflections. I leave it to your judgment, my experienced friend, to
sell so much of these remains as will liquidate my earthly
debts.—I will, in the second place: that you do not beat my
dog, if you ever should meet him; I assume that, in punishment of
his faithlessness, he has already suffered torments from the
Englishman's horn. I forgive him!—Thirdly, I will that the
history of my Paris sufferings, with omission of my name, be
published as a wholesome warning to all soft fools like
me.—Fourthly, I wish for a decent grave, yet without any fuss
or parade; few persons suffice for my following; their names and
addresses you'll find in my diary. The costs of the burial must be
mustered up by you and them.—Amen !"</p>

<p>"Now,"—the dying man continued, after a
pause occasioned by his growing weakness,—"now one last word
on my belief.—I believe in God, Mozart and Beethoven, and
likewise their disciples and apostles;—I believe in the Holy
Spirit and the truth of the one, indivisible Art;—I believe
that this Art proceeds from God, and lives within the hearts of all
illumined men;—I believe that he who
<pb id="pag67" n="67"/>
once has bathed in the
sublime delights of this high Art, is consecrate to Her for ever,
and never can deny Her;—I believe that through this Art all
men are saved, and therefore each may die for Her of
hunger;—I believe that death will give me highest
happiness;—I believe that on earth I was a jarring discord, which
will at once be perfectly resolved by death. I believe in a last
judgment, which will condemn to fearful pains all those who in this
world have dared to play the huckster with chaste Art, have
violated and dishonoured Her through evilness of heart and ribald
lust of senses;—I believe that these will be condemned
through all eternity to hear their own vile music. I believe, upon
the other hand, that true disciples of high Art will be
transfigured in a heavenly fabric of sun-drenched fragrance of
sweet sounds, and united for eternity with the divine fount of all
Harmony.—May mine be a sentence of grace!—Amen!"</p>

<p>I could almost believe that my friend's fervent
prayer had been granted already, so heavenly a light shone in his
eye, so enraptured he remained in breathless quiet. But his gentle,
scarce palpable breathing assured me that he yet lived
on.—Softly, but quite audibly, he whispered: "Rejoice, ye
faithful ones; the joy is great, toward which ye journey!"</p>

<p>Then he grew dumb,—the radiance of his glance was quenched; a
smile still wreathed his lips. I closed his eyes, and prayed God
for such a death.— —</p>

<p>Who knows what died in this child of man, leaving no trace
behind? Was it a Mozart,—a Beethoven? Who can tell, and who
'gainsay me when I claim that in him there fell an artist who would
have enriched the world with his creations, had he not been forced
to die too soon of hunger?—I ask, who will prove me the
contrary?—</p>

<p>None of those who followed his body. Besides
myself there were but two, a philologist and a painter; a third was
hindered by a cold, and others had no time to spare.—As we
were modestly approaching the churchyard of Montmartre, we noticed
a beautiful dog, who anxiously
<pb id="pag68" n="68"/>
sniffed at the bier and coffin. I
recognised the animal, and Looked behind me;—bolt-upright on
his horse, I perceived the Englishman. He seemed unable to
understand the strange behaviour of his dog, who followed the
coffin into the graveyard; he dismounted, gave the reins to his
groom, and overtook us in the cemetery.</p>

<p>"Whom are you burying, mein Herr?" he asked
me.—"The master of that dog," I gave for answer.</p>

<p>"Goddam!" he cried, "it is most annoying that
this gentleman should have died without receiving the money for his
beast. I set it aside for him, and have sought an opportunity of
sending it, although this animal howls at my musical exercises like
all the rest. But I will make good my omission, and devote the
fifty guineas for the dog to a memorial stone, which shall be
erected on the grave of the estimable gentleman!"—He left
us, and mounted his horse; the dog remained beside the
grave,—the Briton rode away.
<note id="rn7" corresp="n7" place="unspecified" anchored="yes"/>
</p>

</div> 
</body>

<back>
<div type="notes" org="uniform" sample="complete" part="N">
<head>Notes</head>

<note id="n1" resp="translator" place="foot" corresp="rn1" anchored="yes">
<p>Under the title "Un musicien étranger à Paris," this
story appeared in the <hi>Gazette Musicale</hi> of Jan. 31 and Feb. 7 and
11, 1841. Its German original was first printed in Nos. 187-91 of
the <hi>Abend-Zeitung</hi> (Aug. 6 to 11, 1841) as a sequel to the
"Pilgrimage ", and with the special title "Das Ende zu Paris. (Aus
der Feder eines in Wahrheit noch lebenden Notenstechers.)"—i.e.
"The end at Paris: from the pen of an in reality still living
note-engraver." The title in the <hi>Ges. Schr.</hi> becomes "Ein
Ende in Paris," but otherwise the two German texts are identical,
saving for one or two quite trifling stylistic alterations and the
appearance in the <hi>A.Z.</hi> of "—denn ich bin mehr Banquier
als Notenstecher—", i.e. "—for I am more of a banker
than a note-engraver—", following the words "as my own access
to those sanctuaries was but rare" on 
<ref target="pag55" targOrder="U">page 55</ref> <hi>infra</hi>.—Tr.</p>
</note>

<note id="n2" resp="translator" place="foot" corresp="rn2" anchored="yes">
<p>In the French this sentence ran, "Me faudrait-il craindre par hasard de me
trouver, ici comme en Allemagne, dans l'obligation d'avoir recours
à des voies tortueuses pour me procurer l'entrée des
théâtres royaux?"—and was immediately followed
by "Dois-je croire que, pendant des années entières,
il me faudra mendier la protection de tel on tel laquais de cour
pour finir par arriver, grâce à un mot de
recommandation qu'aura daigné m'accorder quelque femme de
chambre, à obtenir pour mes œuvres l'honneur de la
réprésentation? Non sans doute, et à
quoi bon dailleurs des démarches si serviles, ici,
à Paris" etc.—Some specific case appears to be
referred to here, for, although the passage drops out of this
connection in the <hi>Abendzeitung</hi> and <hi>Ges. Schr.</hi>, we
meet with an identical allusion in the essay on "Conducting," see
Vol. IV., pp. 294 and 297.—Tr.</p>
</note>

<note id="n3" resp="translator" place="foot" corresp="rn3" anchored="yes">
<p>Between this paragraph and the next there appeared in the <hi>Gazette
Musicale</hi> "(Je n'ai nul besoin, je pense, de faire remarquer au
lecteur que, dans les objections dont je me sers et dont j'aurai
encore à me servir vis-à-vis de mon ami, il ne s'agit
nullement de voir l'expression complète de ma conviction
personelle, mais seulement une série d'arguments que je
regardais comme urgent d'employer pour amener mon enthousiaste
à abandonner ses plans chimériques, sans diminuer
pourtant en rien sa confiance en son talent.)"—Tr.</p>
</note>

<note id="n4" resp="translator" place="foot" corresp="rn4" anchored="yes">
<p>In the <hi>Gazette</hi> here appeared "(Le lecteur voudra bien ne pas
oublier de faire ici une nouvelle application de la remarque que je
lui ai recommandée ci-dessus.)"—Tr.</p>
</note>

<note id="n5" resp="translator" place="foot" corresp="rn5" anchored="yes">
<p>Here, as also at the end of the next paragraph but one, the
<hi>Gazette</hi> had "(Le lecteur voudra bien ne pas oublier,
etc.)"—Tr.</p>
</note>

<note id="n6" resp="translator" place="foot" corresp="rn6" anchored="yes">
<p>Here again, and after the first sentence of the next paragraph but
one, the <hi>G. M.</hi> had "(Le lecteur voudra bien ne pas oublier,
etc.)"—Tr.</p>
</note>

<note id="n7" resp="translator" place="foot" corresp="rn7" anchored="yes">
<p>Translator's note:—In the <hi>Gazette Musicale</hi> there was
an additional paragraph: "Il me reste maintenant à
exécuter le testament. Je publierai dans les prochains
numéros de cette gazette, sous le titre de <hi>Caprices
esthétiques d'un musicien</hi>, les differentes parties du
journal du défunt, pour lesquels l'éditeur a promis
de payer un prix élevé, par égard pour la
destination respectable de cet argent. Les partitions qui composent
le reste de sa succession sont à la disposition de MM. les directeurs
d'Opéra, qui peuvent, pour cet objet, s'addresser, par
lettres non affranchies, à l'exécuteur testamentaire,</p>

<p rend="r">RICHARD WAGNER."</p>
</note>

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