ime fully recognized
the meagre resources of the native stage, particularly in scenic
presentation. How Paris must have aroused his longing where Spontini
had introduced the opera upon a grander scale and with stronger
ensemble! The financial difficulties however, which followed
the dissolution of the Magdeburg theatre and the failure of his
compositions forced him to continue his connection still longer with
the German stage, wretched as it was. He next went to Koenigsberg. The
position there was not sufficiently remunerative to protect him from
want, now that he was married. One purpose he kept constantly in view,
namely, to perform some splendid work of art and with it free himself
from his embarrassing position. In every interesting romance he sought
the material for a grand opera. Among others, he selected Koenig's
"Hohe Braut," rapidly arranged the scenes and sent the manuscript to
Scribe in Paris, whose endorsement was considered essential, and whose
"Huguenots" had just helped to make Meyerbeer one of the stars of the
day. Nothing came of it however. Of what importance in this direction
was Germany at that time? The Koenigsberg troupe was also soon
dissolved. "Some men are at once decisive in their character and their
works, while others have first to fight their way through a chaos of
passions. It is true however that the latter class obtain greater
results," it is said in one account of this short episode. He was soon
to accomplish such an achievement. In the city of Koenigsberg, the old
seat of the Prussian kings, he had won a friend for life who, as will
subsequently appear, proved of service to him. The general character
of life in Prussia also greatly contributed to strengthen in him that
independent bearing of which Spontini's imperious splendor had given
him a hint, and which subsequently was to invest his own art with so
much importance in the world's history.

During a visit to Dresden in 1837 he came across Bulwer's "Rienzi, the
Last of the Tribunes," in which he became deeply interested, the more
so that the hero had been in his mind for some time. The necessities
of subsistence now drove him across the borders to Riga. His Leipzig
friend Dorn was there, and Karl Holtei had just organized a new
theatre. He was made director of music and his wife appeared in the
leading feminine roles. Splendid material was at hand and Wagner went
zealously to work. He was obliged however to produce here also the
wor