seeking to establish some connection between these reasons and the prevailing condition of culture.  It would have been impossible for me at that time to have devoted myself to a work which compelled me to study its immediate production at one of our existing theatres.  It was only an utter disregard of these theatres, as I have taken occasion to observe before, that could determine me to take up my artistic work again.  With regard to the Nibelungen dramas, I was compelled to adhere without flinching to the one essential stipulation that it could only be produced under quite exceptional conditions, such as those I afterwards described in the preface to the printed edition of the poem.  Nevertheless, the successful popularisation of my earlier operas had so far influenced my frame of mind that, as I approached the completion of more than half of my great work, I felt I could look forward with growing confidence to the possibility that this too might be produced.  Up to this point Liszt had been the only person to nourish the secret hope of my heart, as he was confident that the Grand Duke of Weimar would do something for me, but to judge from my latest experience these prospects amounted to nothing, while I had grounds for hoping that a new work of similar design to Tannhauser or Lohengrin would be taken up everywhere with considerable alacrity.  The manner in which I finally executed the plan of Tristan shows clearly how little I was thinking of our operatic theatres and the scope of their capabilities.  Nevertheless, I had still to fight a continuous battle for the necessaries of life, and I succeeded in deceiving myself so far as to persuade myself that in interrupting the composition of the Nibelungen and taking up Tristan, I was acting in the practical spirit of a man who carefully weighs the issues at stake.  Devrient was much pleased to hear that I was undertaking a work that could be regarded as practical.  He asked me at which theatre I contemplated producing my new work.  I answered that naturally I could only have in view a theatre in which it would be possible for me to superintend the task of production in person.  My idea was that this would either be in Brazil or, as I was excluded from the territory of the German Confederation, in one of the towns lying near the German frontiers, which I presumed would be able to place an operatic company at my disposal.  The place I had in my mind was Strasburg, but Devrient had many practical reasons for being wholly opposed to such an undertaking; he was of opinion that a performance in Karlsruhe could be arranged more easily and would meet with greater success.  My only objection to this was, that in that town I should be debarred from taking a personal share in the study and production of my work.  Devrient, however, thought that, as far as this was concerned, I might feel justified in entertaining some hope, as the Grand Duke of Baden was so well disposed towards me, and took an active interest in my work.  I was highly delighted to