he Wagnerian theories, which may have
been one reason, aside from the constitutional artistic reasons, why
Wagner hated him.

Meyerbeer was born "to the purple," to a properly conducted life, and
yet he laboured with tremendous vim. He outworked all his fellows, and
one day when a friend protested, begging him to take rest, Meyerbeer
answered:

"If I should stop work I should rob myself of my greatest enjoyment. I
am so accustomed to it that it has become a necessity with me." This
is the true art spirit, which many who "arrive" never know the joy of
possessing. Meyerbeer's father was a rich Jewish banker, Jacob Beer,
of Berlin. It is pleasant to think of one man, capable of large
achievements, having an easy time of it, finding himself free all his
life to follow his best creative instincts. It is not often so.

Meyerbeer's generosity of spirit in regard to the greatness of another
is shown in this anecdote:

Above all music, the Jew best loved Mozart's, just as Mozart loved
Haydn's. Upon one occasion when Meyerbeer was dining with some
friends, a question arose about Mozart's place among composers. Some
one remarked that "certain beauties of Mozart's music had become stale
with age." Another agreed, and added, "I defy any one to listen to
'Don Giovanni' after the fourth act of 'Les Huguenots'!" This vulgar
compliment enraged Meyerbeer. "So much the worse then for the fourth
act of 'The Huguenots'!" he shouted. Of all his own work this Jewish
composer loved "L'Africaine" the best, and he made and remade it
during a period of seventeen years. In this he was the best judge of
his own work; though some persons believe that "Le Prophete" is
greater.

Among Meyerbeer's eccentricities was one that cannot be labelled
erratic. He had a wholesome horror of being buried alive, and he
carried a slip about in his pocket, instructing whom it might concern
to see that his body was kept unburied four days after his death, that
small bells were attached to his hands and feet, and that all the
while he should be watched. Then he was to be sent to Berlin to be
interred beside his mother, whom he dearly loved.

THE PROPHET

CHARACTERS OF THE OPERA

Count Oberthal, Lord of the manor.
John of Leyden, an innkeeper and then a revolutionist (the
Prophet).
Jonas }
Mathison } Anabaptists.
Zacharia }
Bertha, affianced to John of Leyden.
Faith, John's mother.
Choir: Peasants, soldiers, people, officers.

Story laid in H