He then explains to his young enemy that he wishes to leave the signboard up for the time being, as he still hopes to prove the truth of the motto.

After the marriage contract, in which the young man arrogates to himself all kinds of fictitious titles of nobility, has been read to the assembled company (composed, say, of the elite of the noble immigrants at the time of the French Revolution), there is heard suddenly the pipe of the bear-leader, who enters the garden with his prancing beast.  Angered by this trivial diversion, the astonished company become indignant when the bridegroom, giving free vent to his feelings, throws himself with tears of joy into the arms of the bear-leader and loudly proclaims him as his long-lost father.  The consternation of the company becomes even greater, however, when the bear itself embraces the man they supposed to be of noble birth, for the beast is no less a person than his own brother in the flesh who, on the death of the real bear, had donned its skin, thus enabling the poverty-stricken pair to continue to earn their livelihood in the only way left to them.  This public disclosure of the bridegroom’s lowly origin at once dissolves the marriage, and the young woman, declaring herself outwitted by man, offers her hand in compensation to the released jeweller.

To this unassuming subject I gave the title of the Gluckliche Barenfamilie, and provided it with a dialogue which afterwards met with Holtei’s highest approval.

I was about to begin the music for it in a new light French style, but the seriousness of my position, which grew more and more acute, prevented further progress in my work.

In this respect my strained relations with the conductor of the theatre were still a constant source of trouble.  With neither the opportunity nor the means to defend myself, I had to submit to being maligned and rendered an object of suspicion on all sides by my rival, who remained master of the field.  The object of this was to disgust me with the idea of taking up my appointment as musical conductor, for which the contract had been signed for Easter.  Though I did not lose my self-confidence, I suffered keenly from the indignity and the depressing effect of this prolonged strain.

When at last, at the beginning of April, the moment arrived for the musical conductor Schubert to resign, and for me to take over the whole charge, he had the melancholy satisfaction of knowing that not only was the standing of the opera seriously weakened by the departure of the prima donna, but that there was good reason to doubt whether the theatre could be carried on at all.  This month of Lent, which was such a bad time in Germany for all similar theatrical enterprises, decimated the Konigsberg audience with the rest.  The director took the greatest trouble imaginable to fill up the gaps in the staff of the opera by means of engaging strangers temporarily, and by new acquisitions, and in this my personality and unflagging activity were of real service; I devoted all my energy to buoying up by word and deed the tattered ship of the theatre, in which I now had a hand for the first time.