Hear now what effect your letter has had upon me.
Last May I sent the poem of my "Siegfried" to a book-seller to be published, such as it is. In a short preface I explained that the completion and the performance of my work were beyond hope, and that I therefore communicated my intention to my friends. In fact, I shall not compose my "Siegfried" on the mere chance for the reasons I have just told you. Now, you offer to me the artistic association which might bring "Siegfried" to light. I demand representatives of heroes such as our stage has not yet seen; where are they to come from? Not from the air, but from the earth, for I believe you are in a good way to make them grow from the earth by dint of your inspiring care. Although our theatrical muddle is hopelessly confused, the best soil for all art is still to be found in our foolish actors and singers; their nature, if they have kept their hearts at all, is incorruptible; by means of enthusiasm you can make anything of them. Well then, as soon as you have produced Lohengrin to your own satisfaction I shall also produce my "Siegfried," but only for you and for Weimar. Two days ago I should not have believed that I should come to this resolution; I owe it to you.
My dear Liszt, from what I have told you you will see that, according to my view of the thing, your amiable anxiety for the further promulgation of my "Lohengrin" has my sympathy almost alone on account of its material advantages—for I must live—but not with a view to my fame. I might have the desire to communicate myself to a larger circle, but is he likely to be listened to who intrudes? I cannot and will not intrude. You surely have done enough to attract the attention of people towards me; shall I too buttonhole them and ask them for a hearing? Dear friend, these people are flabby and cowardly; they have no heart. Leave them alone! If I am to succeed, it must be through people who care about the matter. Where I must offer myself I lose all my power. How can I care about a "Leipsic representation"? It would have to be a good representation, and how is that to be achieved unless some one like you undertook the thing? Do not forget that Weimar also would not exist for me if you did not happen to exist in Weimar. Good Lord! All depends upon one man in our days; the rest must be dragged along anyhow; nothing will go of itself. Even money considerations could not determine me to arrange performances which would of necessity be bad. Lord knows, although I have no money, I do not trouble about it excessively, for I have a notion that somehow I shall not starve. Just when I have nothing at all something always turns up, as, for instance, your last news, and then I feel suddenly calm and free of care. You see, dear friend, as long as you remain true to me I do not despair. As to your excellent proposal with regard to the treatment of Gluck's operas, which has given me great pleasure, I shall soon write more definitely.
Although I have many more things to tell you, I think it better to conclude on this page. You say so many things to me that I become quite confused when I have to think of a detailed answer. I know that I am safe with you as a child in its mother's bosom. What more is required beyond gratitude and love? Farewell, and let me press you to my heart.
Your friend, happy through you,
RICHARD WAGNER
Herr von Zigesar will have a letter very soon; for the present I send him my best thanks for his valuable letter and his touching sympathy with my work. One more thing: a certain conductor, Abt, from this place will be at Weimar on August 28th to hear "Lohengrin." Kindly reserve a seat for him.
My best remembrances to Genast and my brave singers. I rejoice when I think of these good people. A whole family, Ritter by name, will come from Dresden to Switzerland next year, to settle near me; they also will be at Weimar. I am writing to Uhlig.
36.