from the pen of Berlioz had been added to it. The latter was
apparently far from pleased at my article. In the article I could
not help referring to Berlioz's absurd idea of polishing up this
old-fashioned musical work by adding ingredients that spoiled its
original characteristics, merely in order to give it an
appearance suited to the luxurious repertoire of Opera House. The
fact that the result fully justified my forecasts did not in the
least tend to diminish the ill-feeling I had roused among all
those concerned in the production; but I had the satisfaction of
hearing that the famous George Sand had noticed my article. She
commenced the introduction to a legendary story of French
provincial life by repudiating certain doubts as to the ability
of the French people to understand the mystic, fabulous element
which, as I had shown, was displayed in such a masterly manner in
Freischutz, and she pointed to my article as clearly explaining
the characteristics of that opera.

Another journalistic opportunity arose out of my endeavours to
secure the acceptance of my Rienzi by the Court Theatre at
Dresden. Herr Winkler, the secretary of that theatre, whom I have
already mentioned, regularly reported progress; but as editor of
the Abendzeitung, a paper then rather on the wane, he seized the
opportunity presented by our negotiations in order to ask me to
send him frequent and gratuitous contributions. The consequence
was, that whenever I wanted to know anything concerning the fate
of my opera, I had to oblige him by enclosing an article for his
paper. Now, as these negotiations with the Court Theatre lasted a
very long time, and involved a large number of contributions from
me, I often got into the most extraordinary fixes simply owing to
the fact that I was now once more a prisoner in my room, and had