in, and others, in fighting that acrimonious
art-battle. While he did not stand formally with the ranks, he yet
secured a still more bitter portion of hostility from their powerful
opponents, for, to opposition in principle, Berlioz united a caustic
and vigorous mode of expression. His name was a target for the wits. "A
physician who plays on the guitar and fancies himself a composer," was
the scoff of malignant gossips. The journals poured on him a flood
of abuse without stint. French malignity is the most venomous and
unscrupulous in the world, and Berlioz was selected as a choice victim
for its most vigorous exercise, none the less willingly that he had
shown so much skill and zest in impaling the victims of his own artistic
and personal dislike.

V.

To continue the record of Berlioz's life in consecutive narrative would
be without significance, for it contains but little for many years
except the same indomitable battle against circumstance and enmity,
never yielding an inch, and always keeping his eyes bent on his own
lofty ideal. In all of art history is there no more masterful heroic
struggle than Berlioz waged for thirty-five years, firm in his belief
that some time, if not during his own life, his principles would be
triumphant, and his name ranked among the immortals. But what of the
mean while? This problem Berlioz solved, in his later as in earlier
years, by doing the distasteful work of the literary scrub. But never
did he cease composing; though no one would then have his works, his
clear eye perceived the coming time when his genius would not be denied,
when an apotheosis should comfort his spirit wandering in Hades.

Among Berlioz's later works was an opera of which he had composed both
words and music, consisting of two parts, "The Taking of Troy," and
"The Trojans at Carthage," the latter of which at last secured a few
representations at a minor theatre in 1863. The plan of this work
required that it should be carried out under the most perfect
conditions. "In order," says Berlioz, "to properly produce such a work
as 'Les Trojans,' I must be absolute master of the theatre, as of the
orchestra in directing a symphony. I must have the good-will of all, be
obeyed by all, from prima donna to scene-shifter. A lyrical theatre, as
I conceive it, is a great instrument of music, which, if I am to play,
must be placed unreservedly in my hands." Wagner found a King of Bavaria
to help him carry out a similar