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Besides this I occasionally dined with the Flaxland family, who still refused to despair of my eventual success with the Parisians. For the present my Paris publisher continued to issue the Fliegender Hollander as well as Rienzi, for which he paid me tifleen hundred francs as a small fee, which I had not bargained for on the first edition.
The Dresden publisher, on the contrary, was just as disagreeable, and complained at once that I was infringing his rights in France, and so worried Flaxland that the latter felt justified in raising all sorts of difficulties against me. I had almost become involved in fresh complications in consequence, when one day Count Paul Hatzfeld appeared at my house with a request that I would visit Mme.
The natural result of this was that Flaxland was placed in the position of being able to deny that it was I who owned the French copyright of my work.
In order not to embarrass the Metternich's friends, Pourtales and Hatzfeld, I pretended that I was not in Paris, and looked up only those of my old acquaintances who did not know these gentlemen, such as Truinet, Gasperini, Flaxland, and the painter Czermak.
As I was ever anxious, amid all my other discomforts, to find some relief from this burden, I had made an agreement with the music-dealer Flaxland for the sale of all my French rights in the Fliegender Hollander, Tannhauser, and Lohengrin for whatever they would fetch.
Moreover Flaxland, who had now taken courage to issue my other operas in French, wished to retain me in Paris until, in collaboration with Truinet, I had completed the translation of the Fliegender Hollander. For this work I needed several weeks, which it was impossible for me to spend in our apartments, now entirely stripped of furniture.
The Flaxland family also, with whom I had had some differences over the publication of Tannhauser, now exerted themselves in every possible way to show me kindness, but I could only wish that they had had no reason for doing so. It was now settled that we must at all costs leave Paris soon.
When, later on, my Paris publisher Flaxland and I came to make out an agreement, Meser's successor in Dresden announced himself as absolute proprietor of my operas, and actually succeeded in putting so many obstacles in Flaxland's way in the conduct of his French business, that the latter was compelled to purchase peace at the price of six thousand francs.
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