As for the old Wieck, his bitterness must have been almost suicidal.  He did not forgive his daughter even after the birth of her first child, on September 1, 1841, the year also of Schumann’s first symphony.  It was only after a second child was born, in April, 1843, that Schumann could write to a friend: 

“There has been a reconciliation between Clara and old Wieck, which I am glad of for Clara’s sake.  He has been trying to make it up with me too, but the man can have no feelings or he could not attempt such a thing.  So you can see the sky is clearing.  I am glad for Clara’s sake.”

But the cherishing of such a grudge even with such foundation was not like Schumann, and a year later, from Petersburg, where he had accompanied Clara on a triumphal tour and where they had the most cordial recognition from the Czar and Czarina, he addressed old Wieck as “Dear Father,” and described to him with contagious pride the immense success of his wife.  A little later he reminded him that “It is the tenth birthday Of our Zeitschrift, I dare say you remember.”  And yet again he writes to him as “Dear Papa,” adding “best love to your wife and children, till we all meet again happily.”  And so ended the feud between the two men.

The romance of Robert and Clara did not end at the little village church, but rather they seemed to issue thence into a very Eden of love and art commingled.  The gush of song from his heart continued, he dedicated to her his “Myrthen” and collaborated with her in the twelve songs called “Love’s Springtime.”  As Spitta, his biographer, writes: 

“As far as anything human can be imagined, the marriage was perfectly happy.  Besides their genius both husband and wife had simple domestic tastes and were strong enough to bear the admiration of the world, without becoming egotistical.  They lived for one another and for their children.  He created and wrote for his wife, and in accordance with their temperament; while she looked upon it as her highest privilege to give to the world the most perfect interpretation of his works, or at least to stand as mediatrix between him and his audience, and to ward off all disturbing or injurious impressions from his sensitive soul, which day by day became more irritable.  Now that he found perfect contentment in his domestic relations, he withdrew from his intercourse with others and devoted himself exclusively to his family and work.  The deep joy of his married life, produced the direct result of a mighty advance in his artistic progress.  Schumann’s most beautiful works in the larger forms date almost entirely from the years 1841-5.”

He went with her on many of her tours.  They even planned an American trip.  Once they were received with a public banquet; these two whom Reissman calls “the marvellous couple.”  In his letters there are always loving allusions to “my Clara,” and though he could not himself play because of his lame finger, she was to him his “right hand.”  Once in referring to a prospective concert he even wrote, “We shall play” such and such numbers.