to go back to Germany it is just possible Wagner might have gone. Instead, Meyerbeer sent him into a _cul de sac_--to starve, or get out as he best could. In the whole history of the art of the world no more cruel swindle was ever played on an obscure artist by a man occupying a brilliant position. For, figuratively, Wagner had not been in Paris twenty minutes before he discovered that to be presented by the omnipotent Meyerbeer meant nothing--absolutely nothing. Every one received him with the greatest politeness; every one appeared to promise great things; no one did anything. At the opera he had not the remotest chance, of course, being young, unknown, a German, and without social influence. The Renaissance speedily shut its doors, being bankrupt. Through Habeneck he learnt to understand the Ninth Symphony even better than he had understood it before; for the Conservatoire orchestra had rehearsed it until, almost unconsciously, they discovered the real melody, or what Wagner calls the melos. This is a question I shall go into later when dealing with Wagner's own conducting; for the present it suffices to mention the bare fact, as we can trace directly to these performances--or, rather, rehearsals--the _Faust_ overture which Wagner soon afterwards composed. Habeneck gave a performance of his _Columbus_ overture; and in no other way was the acquaintance of any value. So, as his little money was speedily gone, he had to live for a while on what his relatives and friends could give him, and afterwards by what he could earn by writing for Schlesinger's _Gazette Musicale_. This is what Meyerbeer's introductions were worth. II