How many men are there in the annals of art who would have refused, after all these disappointments and bitter lessons, to make _some_ concessions? Wagner was writing a gigantic work, the Nibelung Tetralogy, which, he was convinced, would never yield a penny's profit during his lifetime. Sometimes despair seized him. In one of his letters he exclaims: "Why should I, poor devil, burden and torture myself with such terrible tasks, if the present generation refuses to let me have even a workshop?" Yet the only deviation he made from his plan was that when he had reached the second act of the third of the Nibelung dramas, the poetic "Siegfried," in June, 1857, he made up his mind to abandon the Tetralogy for the time being, and compose an opera which might be performed separately and once more bring him into contact with the stage. This opera was "Tristan and Isolde;" but instead of being a concession, it turned out to be the most difficult and Wagnerian of all his works,--an opera with much emotion but little action, no processions or choruses such as "Lohengrin" still had, and, of course, no arias or tunes whatever. "Tristan and Isolde" was completed in 1859, and Wagner would have much preferred to have its performance in Paris commanded by Napoleon in place of "Tannhäuser." What the Jockey Club would have done in that case is inconceivable, for, compared with "Tristan," "Tannhäuser" is almost Meyerbeerian, if not Donizettian. No singers, moreover, could have been found in Paris able to interpret this work, with its new vocal style,--"speech-song," as the Germans call it. Even Germany could do nothing, at first, with this opera. In Vienna, after fifty-four rehearsals, it was abandoned, in 1863, as "impossible," and that city did not produce it till after Wagner's death. Instead of bringing him into immediate contact with the stage, it was not heard _anywhere_ till seven years after its completion.