“Pity me! Marie wished to sing at Stuttgart, Mannheim and Hechingen. The two first were bearable, but the last!... Yet she would not hear of my engaging another singer.”
Then he incidentally and whimsically mentions an innocent embryo love-affair in Russia, and, in 1863, makes such tragic and mysterious reference to an impossible love, that Ferrand, seriously alarmed, thinks that Louis must have become more than usually troublesome.
The influence of Estelle Fournier, which pervaded his whole life, comes under a different category. He was without religion; she supplied its place. She was his dream-lady, the Beatrice to his Dante, that necessary worship which no great soul can forego. The proof of this is that, when he met her again—old, sweet, dignified and still beautiful to him—his allegiance never wavered; she was still the Mountain Star of his childhood’s days.
If his capacity for love was unlimited, it was not so with his sense of humour, which was curiously circumscribed. Occasionally he rivals Heine in power of seeing the odd side of his own divagations; his account of his headlong flight from Rome to murder the whole erring Moke family is inimitable. Yet he never discovers—as a man with a true sense of humour would have done—that, in sharpening his rapier on Wagner and the Music of the Future, he is meting out to a struggling composer precisely the same measure that the Parisians had meted out to himself. It speaks volumes for the strength of his friendship with Liszt that even Wagnerism could not divide them.
La Côte Saint-André is a large village some thirty odd miles from Grenoble; here, in a handsome house in the Rue de la République, Louis Hector Berlioz was born. His home education and seclusion from healthy school-life and the society of other children of his age ill-fitted him for the battle of life, which began with his medical student career in Paris.
He describes the quarrels with his parents and stoppage of his allowance in 1826, but passes lightly over the privations and semi-starvation that undoubtedly laid the foundations of that internal disease which embittered his latter years. His graphic account of those early Parisian days is one of the most interesting parts of the Memoir. He declared that his time in Italy, after gaining the Prix de Rome, was musically barren. Yet this must be a mistake, since, to the memory of his mountain wanderings he owed the inspiration of Harold. And even if he apparently gained nothing in music, the experience of what to avoid and the influence of beautiful scenery—to which he was always peculiarly sensitive—counted for much in his general development.
With his return to Paris his character took form, and he began his life-long warfare against shams and empiricism. Newspaper work, hated as it was, had a great share in moulding him. Each year he grew more autocratic, and each year more hated for his uncompromising sledge-hammer speech. But Ferrand was correct in saying that he could write. His style is clear, incisive, perfect and even elegant French, although, naturally, owing to the exigencies of its production, it is often unequal. The first years of his marriage were ideal in spite of their penury. The young couple had a côterie of choice friends, amongst whom Liszt took a foremost place, but gradually the clouds gathered, the rift within the lute widened, until a separation became inevitable; even then Berlioz does not attempt—as so many men of his impatient spirit might have done—to shirk responsibility and throw upon others the burden of his hostage to fortune—an unsympathetic invalid—but works the harder at his literary tread-mill to provide her indispensable comforts. Poor Henriette’s side of the story is untold, and one can but say:
“The pity of it!”
His troubles in Paris and the triumphs abroad that were their antidote made up the rest of his stormy, restless pilgrimage; yet even in ungrateful Paris he was not entirely neglected.