day discover the secret of my wide knowledge of Paris. Among
other things which I sent to his declining paper was a long
account of the production of Freischutz, He was particularly
interested in it, as he was the guardian of Weber's children; and
when in one of his letters he assured me that he would not rest
until he had got the definite assurance that Rienzi had been
accepted, I sent him, with my most profuse thanks, the German
manuscript of my 'Beethoven' story for his paper. The 1841
edition of this gazette, then published by Arnold, but now no
longer in existence, contains the only print of this manuscript.

My occasional journalistic work was increased by a request from
Lewald, the editor of Europa, a literary monthly, asking me to
write something for him. This man was the first who, from time to
time, had mentioned my name to the public. As he used to publish
musical supplements to his elegant and rather widely read
magazine, I sent him two of my compositions from Konigsberg for
publication. One of these was the music I had set to a melancholy
poem by Scheuerlin, entitled Der Knabe und der Tannenbaum (a work
of which even to-day I am still proud), and my beautiful
Carnevals Lied out of Liebesverbot.

When I wanted to publish my little French compositions--Dors, mon
enfant, and the music to Hugo's Attente and Ronsard's Mignonne--
Lewald not only sent me a small fee--the first I had ever
received for a composition--but commissioned some long articles
on my Paris impressions, which he begged me to write as
entertainingly as possible. For his paper I wrote Pariser
Amusements and Pariser Fatalitaten, in which I gave vent in a
humorous style, a la Heine, to all my disappointing experiences