ks of Adam, Auber, and Bellini, which gave him a still deeper
insight into the degradation of the modern stage, with its frivolous
comedy, of which he had a perfect horror. About this time he became
familiar with the legend of the "Flying Dutchman," as Heine relates
it, with the new version that love can release the Ahasuerus of the
sea. The "fabulous home sickness," of which Heine speaks, found an
echo in his own soul and excited it the more. He studied moreover
Mehul's "Joseph in Egypt" and under the influence of the grave and
noble music of this imitator of the great Gluck, he felt himself
"elevated and purified." Even Bellini's "Norma," under the influence
of such impressions, gained a nobler tone and more dignified form than
is really inherent in the music. "Norma" was at that time even given
for his benefit! He now took up the "Rienzi" material in earnest and
projected a plan for the work which required the largest stage for
its execution. The lyric element of the romance, the messengers of
peace, the battle hymns, and the passion of love had already charmed
his purely musical sense. It was however by a solid work for the
theatre, of which the main feature should not be simply "beautiful
verses and fine rhymes" but rather strength of action and stirring
scenes, aided by all available means for producing effect through
scenery and the ballet, that he hoped to win success at the Paris
grand opera. In the fall of 1838 he began the composition.

The first two acts had scarcely been completed when Paris stood
clearly before the poet-composer's eyes. Meanwhile the contract with
Holtei drew to a close, but there were difficulties in the way that
could not easily be removed. He had contracted many debts and without
proof of their liquidation no one could at that time leave Russia.
Flight was determined upon. His friend from Koenigsberg, an old and
rich lumber merchant, in whose house he had spent many a social
evening, took his wife in a carriage over the border, passing her as
his own, while Wagner escaped in some other way. At Pillau they went
on board a sailing vessel, their first destination being London. Now
began the real lifework of Wagner, which was not to cease until he,
who had struggled with poverty and sorrow, was to see emperors and
kings as guests in his art-temple at Baireuth.

The long sea voyage of twenty-five days, full of mishaps, had a very
important bearing upon his art. The stormy sea along the Norw