The long sea voyage of twenty-five days, full of mishaps, had a very important bearing upon his art. The stormy sea along the Norwegian coast and the stories of the sailors who never doubled the existence of the "Flying Dutchman," gave life and definite form to the legend. He remained but a short time in London, seeing the city and its two houses of Parliament, and then went to Boulogne-sur-Mer. He remained there four weeks, for Meyerbeer was there taking sea baths, and his Parisian introductions were of the highest importance. The composer of the "Huguenots" immediately recognized the talent of the younger artist, and particularly praised the text to "Rienzi," which Scribe was soon to imitate for him in his weak production of "The Prophet." At the same time he pointed out the obstacles to success in the great city which it would be extremely difficult for one to overcome without means or connections. Wagner however relied on his good star and departed for that city which he conceived to be the only one that could open the way to the stage of the world for a dramatic composer. The result of the visit to Paris was an abundance of disappointments, but it added largely to his experience, increased his strength, nay more, even gave rise to his first great work.
Meyerbeer recommended him to the director of the Renaissance Theatre and besides acquainted him with artists of note. An introduction to the Grand Opera however was out of the question for one who was an utter stranger. Through Heinrich Laube, then in Paris, he made the acquaintance of Heine, who was much surprised that a young musician with his wife and a large Newfoundland dog should come to Paris, where everything, however meritorious, must conquer its position. Wagner himself has described these experiences in Lewald's "Europa," under the title of "Parisian Fatalities of Germans." His first object was to win some immediate success and he accordingly offered to the above named director the "Liebesverbot," which apparently was well suited to French taste. Unfortunately this theatre went into bankruptcy, so all his efforts were fruitless. He now sought to make himself known through lyrics set to music and wrote several, such as Heine's "Grenadiers," but a favorite amateur balladist, Loisa Puget, reigned supreme in the Paris salons, and neither he nor Berlioz could obtain a hearing. His means were constantly diminishing and a terrible bitterness filled his soul against the splendid Paris salons and theatre world, whose interior appeared so hollow.