I sought consolation for my boundless grief in the society of my sister Ottilie and her husband, Hermann Brockhaus, an excellent fellow to whom she had been married for some years. They were then living at their pretty summer villa in the lovely Grosser Garten, near Dresden. I had looked them up at once the first time I went to Dresden, but as I had not at that time the slightest idea of how things were going to turn out, I had told them nothing, and had seen but little of them. Now I was moved to break my obstinate silence, and unfold to them the cause of my misery, with but few reservations.
For the first time I was in a position gratefully to appreciate the advantages of family intercourse, and of the direct and disinterested intimacy between blood relations. Explanations were hardly necessary, and as brother and sister we found ourselves as closely linked now as we had been when we were children. We arrived at a complete understanding without having to explain what we meant; I was unhappy, she was happy; consolation and help followed as a matter of course.
This was the sister to whom I once had read Leubald und Adelaide in a thunderstorm; the sister who had listened, filled with astonishment and sympathy, to that eventful performance of my first overture on Christmas Eve, and whom I now found married to one of the kindest of men, Hermann Brockhaus, who soon earned a reputation for himself as an expert in oriental languages. He was the youngest brother of my elder brother-in-law, Friedrich Brockhaus. Their union was blessed by two children; their comfortable means favoured a life free from care, and when I made my daily pilgrimage from Blasewitz to the famous Grosser Garten, it was like stepping from a desert into paradise to enter their house (one of the popular villas), knowing that I would invariably find a welcome in this happy family circle. Not only was my spirit soothed and benefited by intercourse with my sister, but my creative instincts, which had long lain dormant, were stimulated afresh by the society of my brilliant and learned brother-in-law. It was brought home to me, without in any way hurting my feelings, that my early marriage, excusable as it may have been, was yet an error to be retrieved, and my mind regained sufficient elasticity to compose some sketches, designed this time not merely to meet the requirements of the theatre as I knew it. During the last wretched days I had spent with Minna at Blasewitz, I had read Bulwer Lytton's novel, Rienzi; during my convalescence in the bosom of my sympathetic family, I now worked out the scheme for a grand opera under the inspiration of this book. Though obliged for the present to return to the limitations of a small theatre, I tried from this time onwards to aim at enlarging my sphere of action. I sent my overture, Rule Britannia, to the Philharmonic Society in London, and tried to get into communication with Scribe in Paris about a setting for H. Konig's novel, Die Hohe Braut, which I had sketched out.
Thus I spent the remainder of this summer of ever-happy memory. At the end of August I had to leave for Riga to take up my new appointment. Although I knew that my sister Rosalie had shortly before married the man of her choice, Professor Oswald Marbach of Leipzig, I avoided that city, probably with the foolish notion of sparing myself any humiliation, and went straight to Berlin, where I had to receive certain additional instructions from my future director, and also to obtain my passport. There I met a younger sister of Minna's, Amalie Planer, a singer with a pretty voice, who had joined our opera company at Magdeburg for a short time. My report of Minna quite overwhelmed this exceedingly kind- hearted girl. We went to a performance of Fidelia together, during which she, like myself, burst into tears and sobs. Refreshed by the sympathetic impression I had received, I went by way of Schwerin, where I was disappointed in my hopes of finding traces of Minna, to Lubeck, to wait for a merchant ship going to Riga. We had set sail for Travemunde when an unfavourable wind set in, and held up our departure for a week: I had to spend this disagreeable time in a miserable ship's tavern. Thrown on my own resources I tried, amongst other things, to read Till Eulenspiegel, and this popular book first gave me the idea of a real German comic opera. Long afterwards, when I was composing the words for my Junger Siegfried, I remember having many vivid recollections of this melancholy sojourn in Travemunde and my reading of Till Eulenspiegel. After a voyage of four days we at last reached port at Bolderaa. I was conscious of a peculiar thrill on coming into contact with Russian officials, whom I had instinctively detested since the days of my sympathy with the Poles as a boy. It seemed to me as if the harbour police must read enthusiasm for the Poles in my face, and would send me to Siberia on the spot, and I was the more agreeably surprised, on reaching Riga, to find myself surrounded by the familiar German element which, above all, pervaded everything connected with the theatre.
After my unfortunate experiences in connection with the conditions of small German stages, the way in which this newly opened theatre was run had at first a calming effect on my mind. A society had been formed by a number of well-to-do theatre-goers and rich business men to raise, by voluntary subscription, sufficient money to provide the sort of management they regarded as ideal with a solid foundation. The director they appointed was Karl von Holtei, a fairly popular dramatic writer, who enjoyed a certain reputation in the theatrical world. This man's ideas about the stage represented a special tendency, which was at that time on the decline. He possessed, in addition to his remarkable social gifts, an extraordinary acquaintance with all the principal people connected with the theatre during the past twenty years, and belonged to a society called Die Liebenswurdigen Libertins ('The Amiable Libertines'). This was a set of young would-be wits, who looked upon the stage as a playground licensed by the public for the display of their mad pranks, from which the middle class held aloof, while people of culture were steadily losing all interest in the theatre under these hopeless conditions.
Holtei's wife had in former days been a popular actress at the Konigstadt theatre in Berlin, and it was here, at the time when Henriette Sontag raised it to the height of its fame, that Holtei's style had been formed. The production there of his melodrama Leonore (founded on Burger's ballad) had in particular earned him a wide reputation as a writer for the stage, besides which he produced some Liederspiele, and among them one, entitled Der Alte Feldherr, became fairly popular. His invitation to Riga had been particularly welcome, as it bid fair to gratify his craving to absorb himself completely in the life of the stage; he hoped, in this out-of-the-way place, to indulge his passion without restraint. His peculiar familiarity of manner, his inexhaustible store of amusing small talk, and his airy way of doing business, gave him a remarkable hold on the tradespeople of Riga, who wished for nothing better than such entertainment as he was able to give them. They provided him liberally with all the necessary means and treated him in every respect with entire confidence. Under his auspices my own engagement had been very easily secured. Surly old pedants he would have none of, favouring young men on the score of their youth alone. As far as I myself was concerned, it was enough for him to know that I belonged to a family which he knew and liked, and hearing, moreover, of my fervent devotion to modern Italian and French music in particular, he decided that I was the very man for him. He had the whole shoal of Bellini's, Donizetti's, Adam's, and Auber's operatic scores copied out, and I was to give the good people of Riga the benefit of them with all possible speed.