Prose, however, is always a burden. Sometimes I go back eight or ten times to an article for the _Journal des Débats_; even a subject I like takes me at least two days. And what blots, what scrawls, what erasures! My first copy is a sight to behold. Propped up by Ferrand, I wrote for the _Révue Européenne_ appreciative articles on Beethoven, Gluck and Spontini that made a certain mark, and thus began my apprenticeship to the difficult and dangerous work that has taken such a fatal hold on my life. Never since have I shaken myself free, and strangely diversified have been its influences on my career both in France and abroad. XIII AN ACADEMY EXAMINATION Torn by my Shakespearian love, which seemed intensified instead of diverted by the influence of Beethoven; dreamy, unsociable, taciturn to the verge of moroseness, untidy in dress, unbearable alike to myself and my friends, I dragged on until June 1828 when, for the third time, I tempted fate at the Institute and won a second prize. This was a gold medal of small value, but it carried with it a free pass to all the lyric theatres, and a fair prospect of the first prize the following year. The Prix de Rome was much better worth having. It insured three thousand francs a year for five years, of which the two first must be spent in Italy, and the third in Germany. The remaining two might be passed in Paris, after which the winner was left to sink or swim at his own sweet will. This is how the affair was worked until 1865, when the Emperor revised the statutes. I shall hardly be believed, but, since I won both prizes, I only state what I know to be absolutely true. The competition was open to any Frenchman under thirty, who must go through the preliminary examination, which weeded out all but the most promising half dozen. The subject set is always a lyric scena, and by way of finding out whether the candidates have melody, dramatic force, instrumentation, and other knowledge necessary for writing such a scena, they are set down to compose a _vocal fugue_! _Each fugue must be signed._ Next day the musical section of the Academy sits in judgment on the fugues, and, since some of the signatures are those of the Academicians’ pupils, this performance is not entirely free from the charge of partiality. The successful competitors then have dictated to them the classical poem on which they are to work. It always begins this way: “And now the rosy-fingered dawn;” or, “And now with lustre soft the horizon glows;” or, “And now fair Phœbus’ shining car draws near;” or, “And now with purple pomp the mountains decked.” Armed with this inspiring effusion the young people are locked up in their little cells with pens, paper, and piano until their work is done.