To her old age my mother felt it as an affront, as a deprivation of all the treasures that nature by her wonderous gifts had destined for her, that she had not been allowed to take a course of training for the theater. Indeed, if I should prove to have inherited this voice, she might perhaps then be able to experience in her daughter the same triumphs that she had missed; but of course the theatrical career would be still more out of place for a Countess Kinsky than it would have been for Fräulein von Körner, and it would not have done even to tell of such an idea to Fritzerl. Nor did any wish for it awake in me myself. I saw my future plainly before me, it was marked out for me in our daily games of puff: to be grown up and introduced into the world, to have hearts and offers of marriage flying to me, to meet the one, the only one, to whom my heart too would fly, because he was the most aristocratic, the most beautiful, the wisest, richest, and noblest of all. What he would offer to me, and I richly pay back to him, would be perfect and lifelong happiness. It was soon manifest, too, that I had not a phenomenal voice; and only in such a case could my mother have contemplated the project of an artistic career for me, so there was no more talk of that possibility. Whether my mother really possessed such a splendid voice as that maestro had persuaded her, and talent with it, of course I could not judge, but I took it on trust as a part of my creed; her singing pleased me very much, but what does a child understand? When I now go back to that time in thought, doubts come up in my mind, for her repertory was very dilettantish. Besides that Norma recitative and the immediately following adagio, _Casta diva_, she sang only the very easiest songs, making such a selection as—in my present judgment—does not itself give reason for inferring an artistic taste. To be sure, at that time there were no songs by Wolff and Brahms, not to say Richard Strauss; but even in those days pieces like _Du hast Diamanten und Perlen_, “Spanish Serenade,” _Blau Äugelein, Gute Nacht du mein herziges Kind_, “Oh, tell me, will she come to pray upon my grave,” and the like, belonged in the category of street songs and sentimental trash. She was not a pianist, so she could not accompany herself. Three times a week she sang for an hour accompanied by my piano teacher. If he brought a new song she had him play the voice part with the accompaniment, and the learning was a prolonged and toilsome task for her. From all this I now conclude that she was by no means a musical genius; and it takes that, aside from the strength, volume, and tunefulness of the voice, to be a Pasta, Grisi, Malibran, or a Henriette Sontag. My mother told many stories of the fortunes and victories of these celebrated stars; then with the story there sounded the undertone that she had been deprived of enjoying the like successes, and the feeling fastened itself upon me that a great