mutually every shred of disguise as to the present state of our
finances, so that, although the two house-holds were actually
separated, our common troubles gave us all the intimacy of one
united family.

The various ways by which I might obtain recognition in Paris
formed the chief topic of our discussions at that time. Our hopes
were at first centred on Meyerbeer's promised letters of
introduction. Duponchel, the director of the Opera, did actually
see me at his office, where, fixing a monocle in his right eye,
he read through Meyerbeer's letter without betraying the least
emotion, having no doubt opened similar communications from the
composer many times before. I went away, and never heard another
word from him. The elderly conductor, Habeneck, on the other
hand, took an interest in my work that was not merely polite, and
acceded to my request to have something of mine played at one of
the orchestral practises at the Conservatoire as soon as he
should have leisure. I had, unfortunately, no short instrumental
piece that seemed suitable except my queer Columbus Overture,
which I considered the most effective of all that had emanated
from my pen. It had been received with great applause on the
occasion of its performance in the theatre at Magdeburg, with the
assistance of the valiant trumpeters from the Prussian garrison.
I gave Habeneck the score and parts, and was able to report to
our committee at home that I had now one enterprise on foot.

I gave up the attempt to try and see Scribe on the mere ground of
our having had some correspondence, for my friends had made it
clear to me, in the light of their own experience, that it was
out of the question to expect this exceptionally busy author to