The first Wagner opera to be given in Paris was “Tannhäuser.” This was in the early sixties, when Judith Gautier was about fourteen years old. She went to the opera with her father—Théophile Gautier—and was enthusiastic although the house received it coldly. As they were walking home a little fellow with hollow cheeks, eagle nose, and very bright eyes joined them. He rejoiced with cheerful violence over the failure of the opera. The girl, angered, forgot her manners and blurted out, “It is clear, sir, that you know you have heard a masterpiece, and that you are talking of a rival.” “Do you know who that was, saucebox?” her delighted father asked as they passed on. “No, who?” “Hector Berlioz.” It was the beginning of a lifelong devotion. Wagner was to her not only the master musician but a species of divinity. In 1882 she published a volume on him—valuable for its reminiscences. Early in the winter of 1892 “Lohengrin” was announced for the season of Grand Opera. I was amazed at the loud and bitter protests. Among the few lovers of Wagner who had courage to come to the defense of the master was Judith Gautier. She was abused for it. As this was my first realization that political hatred ever influences the judgment in matters of art, I took the incident very much to heart. I could understand why people might dislike Wagnerian music, but that the soldiers should be called out to protect the Opera House when one of his greatest works was to be given shocked me. You could then so hate an enemy that beauty herself was outraged! It was easy for me to conclude that Judith Gautier’s name had been left off the list of writing women sent to the Chicago Exposition because the committee wanted to punish her for defending the works of a great artist in whom she profoundly believed. The opening up of opportunities so much more quickly than I had dared dream spurred me to longer and harder hours at work. There were few mornings that I was not at my desk at eight o’clock; there were few nights that I went to bed before midnight, and there was real drudgery in making legible copy after my article was written. It was all done by longhand—careful and painstaking handwriting, it was. I was to find later that Mr. McClure’s partner in the Syndicate, Mr. J. S. Phillips, trying to estimate the possibilities in this correspondent bombarding them with articles and suggestions, set me down from my handwriting as a middle-aged New England schoolteacher.