agements.

And now began for Cesar Franck that life of regular and tireless
industry, which lasted nearly half a century. This industry was
expressed in lesson-giving and composing.

One of the first works written after his return to Paris, was a
musical setting to the Biblical story of "Ruth." The work was given
in the concert room of the Conservatoire, on January 4, 1846, when the
youthful composer was twenty-three. The majority of the critics
found little to praise in the music, which, they said, was but a poor
imitation of "Le Desert," by David. One critic, more kindly disposed
than the others, said: "M. Cesar Franck is exceedingly naive, and this
simplicity we must confess, has served him well in the composition of
his sacred oratorio of 'Ruth.'" A quarter of a century later, a second
performance of "Ruth" was given, and the same critic wrote: "It is
a revelation! This score, which recalls by its charm and melodic
simplicity Mehul's 'Joseph,' but with more tenderness and modern
feeling, is certainly a masterpiece."

But alas, hard times came upon the Franck family. The rich pupils, who
formed the young men's chief clientele, all left Paris, alarmed by the
forebodings of the revolution of 1848. Just at this most inopportune
moment, Cesar decided to marry. He had been in love for some time
with a young actress, the daughter of a well-known tragedienne, Madame
Desmousseaux, and did not hesitate to marry in the face of bad times
and the opposition of his parents, who strongly objected to his
bringing a theatrical person into the family.

Cesar Franck was then organist in the church of Notre Dame de Lorette,
and the marriage took place there, February 22, 1848, in the very
thick of the revolution. Indeed, to reach the church, the wedding
party were obliged to climb a barricade, helped over by the
insurgents, who were massed behind this particular fortification.

Soon after the wedding, Franck, having now lost his pupils--or most
of them--and being continually blamed by his father, whom he could no
longer supply with funds, decided to leave the parental roof and set
up for himself in a home of his own. Of course he had now to work
twice as hard, get new pupils and give many more lessons. But with all
this extra labor, he made a resolve, which he always kept sacredly,
which was to reserve an hour or two each day for composition, or for
the study of such musical and literary works as would improve and
elevate his min