While at work upon the opera in 1835, Glinka married. This, the fulfilment of a long-cherished wish, brought him great happiness. Soon after his marriage he wrote to his mother, "my heart is once more hopeful, I can feel and pray, rejoice and weep--my music is re-awakened; I cannot find words to express my gratitude to Providence for this bliss." In this beatific state of mind he threw himself into the completion of his task. During the summer he took the two acts of the libretto which were then ready into the country with him. While travelling by carriage he composed the chorus in 5-4 measure: "Spring waters flow o'er the fields," the idea of which had suddenly occurred to him. Although a nervous man, he seems to have been able to work without having recourse to the strictly guarded padded-room kind of isolation necessary to so many creative geniuses. "Every morning," he says in his autobiography, "I sat at a table in the big sitting-room of our house at Novospasskoï, which was our favourite apartment; my mother, my sister and my wife--in fact the whole family--were busy there, and the more they laughed and talked and bustled about, the quicker my work went." All through the winter, which was spent in St. Petersburg, he was busy with the opera. "The scene where Sousanin leads the Poles astray in the forest, I read aloud while composing, and entered so completely into the situation of my hero that I used to feel my hair standing on end and cold shivers down my back." During Lent, 1836, a trial rehearsal of the first act was given at the house of Prince Youssipov, with the assistance of his private orchestra. Glinka, satisfied with the results, then made some efforts to get his opera put on the stage, but at first he met with blank refusals from the Direction of the Imperial Theatres. His cause was helped by the generous spirit of Cavos, who refused to see in Glinka a rival in the sphere of patriotic opera, and was ready to accept his work. Even then the Director of the Opera, Gedeonov, demanded from Glinka a written undertaking not to claim any fee for the rights of public performance. Glinka, who was not dependent upon music for a livelihood, submitted to this injustice. The rehearsals were then begun under the supervision of Cavos. The Emperor Nicholas I. attended one of the rehearsals at the great Opera House and expressed his satisfaction, and also his willingness to accept the dedication of the opera. It was then that it received the title by which it has since become famous, Glinka having previously changed the name of _Ivan Sousanin_ to that of _Death for the Tsar_.