however, specially embittered my departure was a series of
experiences of a particularly disagreeable nature, which firmly
determined me to cut myself off entirely from the necessity of
mixing with any people like those I had met with in my previous
attempts to create a position for myself at the theatre.

Yet it was only gradually that I became quite conscious of all
this. At first, under the safe guidance of my renewed wedded
happiness, which had for a time been so disturbed in its early
days, I felt distinctly better than I had before in all my
professional work. The fact that the material position of the
theatrical undertaking was assured exercised a healthy influence
on the performances. The theatre itself was cooped up in a very
narrow space; there was as little room for scenic display on its
tiny stage as there was accommodation for rich musical effects in
the cramped orchestra. In both directions the strictest limits
were imposed, yet I contrived to introduce considerable
reinforcements into an orchestra which was really only calculated
for a string quartette, two first and two second violins, two
violas, and one 'cello. These successful exertions of mine were
the first cause of the dislike Holtei evinced towards me later
on. After this we were able to get good concerted music for the
opera. I found the thorough study of Mehul's opera, Joseph in
Aegypten, very stimulating. Its noble and simple style, added to
the touching effect of the music, which quite carries one away,
did much towards effecting a favourable change in my taste, till
then warped by my connection with the theatre.

It was most gratifying to feel my former serious taste again
aroused by really good dramatic performances. I specially