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Old did not rest. The struggle constantly broke out anew, and for the time it remained in the possession of the ring that symbolizes mastery. The dragon was still unconquered. As the "people" in Germany are not particularly wealthy, slow progress was made with the contributions from the multiplying Wagner-clubs, and yet millions were needed even for this temporary edifice with its complete stage apparatus. It required all the love of his friends, especially of that rarest of all friends, to dispel at times his deep anger when he was compelled to see how mediocrity, even actual vulgarity, again and again held captive the minds of his people to whom he had such high and noble things to offer. "In the end I must accept the money of the Jews in order to build a theatre for the Germans," he said, in the spring of 1873, to Liszt, when during that period of wild stock-speculations, some Vienna bankers had offered him three millions of marks for the erection of his building. He could not well have been humiliated more deeply before his own people, but he was raised still higher in the consciousness of his mission. Truly, this love also came "out of laughter and tears, joys and sorrows," for the mighty host of his enemies now put forth every effort to make his work appear ridiculous and in that way kill it. A pamphlet, by a physician, declared him "mentally diseased by illusions of greatness." Even a Breughel could not paint the raging of the distorted figures which at that time convulsed the world of culture, not alone of Germany. It was really an inhuman and superhuman struggle around this ring of the Nibelung! Nevertheless, in August of the same year (1873), the festival could be undertaken in Baireuth. "Designed in reliance upon the German soul, and completed to the glory of its august benefactor," is printed on the score of the Nibelungen Ring, which now began to appear. The space for the "stage-festival-play" was at least under roof. But with that, the means obtained so far were exhausted, and only "vigorous assistance" on the part of his King prevented complete cessation of work. Wagner himself was soon compelled again to take up his wanderer's staff. He sought this time (1874-1875), with the lately completed "Goetterdaemmerung," to sound through the nation the effective call to awaken, and in doing so met with many decided encouragements. "From the bottom of my heart I thank the splendid Vienna public which to-day has
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