I shall say something more about the translation when I send it to you, which, as I mentioned before, will be in a few days.
I have also read your feuilleton in the Journal des Debats. Your restless energy in serving me I can only compare with the spirit in which you do it. Indeed, dear, good Liszt, I owe it to you that soon I shall be able once more to be entirely an artist. I look upon this final resumption of my artistic plans to which I now shall turn as one of the most decisive moments in my life. Between the musical execution of my "Lohengrin" and that of my "Siegfried" there lies for me a stormy, but, I feel convinced, a fruitful, world. I had to abandon the entire life lying behind me, to bring into full consciousness everything dawning in it, to conquer any rising reflection by its own means—that is, by the most thorough entering into its subject—in order to throw myself once more with clear and cheerful consciousness into the beautiful unconsciousness of artistic creation. The winter I shall spend in completing this abandonment. I want to enter a new world unburdened, free, and happy, bringing nothing with me but a glad artistic conscience. My work on "The Essence of Opera," the last fruit of my contemplation, takes larger dimensions than I at first expected. If I show that music, the woman, becomes co- parent with the poet, the man, I must take care that this splendid woman is not given over to the first comer who desires her, but only to the man who longs for woman with true, irresistible love. The necessity of this union with the full power of music desired by the poet himself I was unable to prove by abstract aesthetic definitions alone, which generally are not understood and remain without effect. I had to derive that necessity with tangible distinctness from the state of modern dramatic poetry, and I hope I shall fully succeed. When I have finished this book, I intend, provided I can find a publisher, to bring out my three romantic opera-poems, with a preface introducing them and explaining their genesis. After that, to clear off all remains, I should collect the best of my Paris writings of ten years ago (including my Beethoven novelette) in a perhaps not unamusing volume; in it those who take an interest in me might study the beginning of my movement. In this manner I should get to the spring pleasantly and in an easy frame of mind, and should then work at my "Siegfried" without interruption and complete it. Give your blessing to this.
I recently had a letter from a friend in Paris who witnessed several rehearsals of the "Tannhauser" overture under Seghers's direction. He has completely satisfied me that the performance is carefully prepared, and that the understanding of the public will be aided as much as possible by a programme taken from your article upon my opera. In spite of this, I am very doubtful whether in the most favourable case I shall derive any benefit from it.
My request to you to accept my poem of "Wiland," you apparently have not quite understood. It is a sincere wish and request. Your present and imminent occupations might delay the fulfillment of my wish, which, however, would become impossible only if my sketch did not inspire you with the desire to complete it. In that case please be frank with me. If you intend, however late, to finish "Wiland," I will undertake its proper versification.
For the present, dearest friend, I must take leave of you; I do so with cordial wishes for your well-being. Commend me to the Princess in the best way you can, so that she also may keep me in friendly remembrance.
Farewell, and be greeted from the full heart of Your grateful friend,
RICHARD WAGNER
ZURICH, November 25th, 1850
51.