Besides, the Wesendoncks are still in the thick of things; they are not able to move, and things are not going at all smoothly for them. At various times I have sufficiently explained to you that my connection with the pair is fairly strictly a matter of my art and not merely a matter of social enjoyment. I find him quite bearable while I keep very independent of the business man in him, and I have made stern resolutions as to this for the future. Seeing what an extraordinarily lonely life I lead here (for Semper, Herwegh, and the rest are all immersed in their own troubles and grievances), I suppose I must be glad of this or any other burden, which at least makes me aware that I am alive.
I shall not trouble about Hartel's any further, as I have at last decided to abandon my obstinate attempt to complete my Nibelungs. I have brought my Young Siegfried into the lovely solitudes of the forest; there I have left him under the lime-tree and have bidden him farewell with heartfelt tears; he is better there than elsewhere. If I am ever to take up the work again, it must either be made very easy for me or I must be enabled personally to give my work to the world in the fullest sense of the term.
I think of doing a shorter version of Tristan and Isolde at once to make performance easy and to produce it this time next year with Niemann and Mme. Meyer, in Strasburg. The theatre there is fine; a neighbouring German Court theatre, Karlsruhe perhaps, can supply me with the orchestra and the rest of the unimportant personnel, so I think that, with the help of God, and in my own way, without the Grand Duke of Weimar, I may produce something again which will help to enliven me and restore my self-assurance. But from another point of view this enterprise offers me the only possible chance of maintaining my position. For I hope I may be justified in supposing that a thoroughly practicable work such as Tristan is to be will speedily yield good revenues and keep me afloat for a while. In addition I have another curious project; that is to say I am thinking of having this work well translated into Italian and offering it for first performance as an Italian opera in the theatre at Rio de Janeiro. I shall dedicate it to the Emperor of Brazil, who will shortly be receiving copies of my last three operas, and all this should, I think, yield enough to keep me unmolested for a time. Whether after that I shall be able to take up my Nibelungs again I cannot, indeed, foresee.
Your last three symphonic poems have once again given me painful pleasure. In reading them through I was constantly reminded of my wretched situation, which renders all such things mute to me, to me of all people who can do so little for myself. God knows, my very greatest delight, such as your Mountain Symphony, is turned to sorrow thereby. But I have bewailed all this a thousand times already; there is no help for it, and because of it may the devil fly away with your Grand Duke and the rest, by no means forgetting Councillor of State Muller; the wretched fellow has sent me another bundle of nonsense and rubbish about my Nibelungs and probably expects an appreciative answer from me in return. Such freaks always come my way, when what I am looking for is men. They are the type who persist in taking an interest in me with astonishing loyalty and devotion. My God, it is all very well for you to talk!
As to my address, the very blind of Zurich know my step. As to Tristan, silence most absolute!!!
Richard Wagner
Source: Letters of Richard Wagner, Volume 1, ed. Altmann/Hull (London: Dent, 1927), No. 338