“Weber hated the king, of whose wild caprice and vices he witnessed daily scenes, before whose palace-gates he was obliged to slink bareheaded, and who treated him with unmerited ignominy.  Sceptre and crown had never been imposing objects in his eyes, unless worn by a worthy man; and consequently he was wont, in the thoughtless levity of youth, to forget the dangers he ran, and to answer the king with a freedom of tone which the autocrat was all unused to hear.  In turn he was detested by the monarch.  As negotiator for the spendthrift Prince Ludwig, he was already obnoxious enough; and it sometimes happened that, by way of variety to the customary torrent of invective, the king, after keeping the secretary for hours in his antechamber, would receive him only to turn him rudely out of the room, without hearing a word he had to say.”

At last Karl Maria’s indignation burst over bounds at some unusual indignity; and he played a practical joke on the king.  Meeting an old woman in the palace one day near the door of the royal sanctum, she asked him where she could find the court-washerwoman.  “There,” said the reckless Weber, pointing to the door of the king’s cabinet.  The king, who hated old women, was in a transport of rage, and, on her terror-stricken explanation of the intrusion, had no difficulty in fixing the mischief in the right quarter.  Weber was thrown into prison, and had it not been for Prince Ludwig’s intercession he would have remained there for several years.  While confined he managed to compose one of his most beautiful songs, “Ein steter Kampf ist unser Leben.”  He had not long been released when he was again imprisoned on account of some of his father’s wretched follies, that arrogant old gentleman being utterly reckless how he involved others, so long as he carried out his own selfish purposes and indulgence.  His friend Danzi, director of the royal opera at Stuttgart, proved his good genius in this instance; for he wrangled with the king till his young friend was released.

Weber’s only consolations during this dismal life in Stuttgart were the friendship of Danzi, and his love for a beautiful singer named Gretchen.  Danzi was a true mentor and a devoted friend.  He was wont to say to Karl:  “To be a true artist, you must be a true man.”  But the lovely Gretchen, however she may have consoled his somewhat arid life, was not a beneficial influence, for she led him into many sad extravagances and an unwholesome taste for playing the cavalier.

In spite of his discouraging surroundings, Weber’s creative power was active during this period, and showed how, perhaps unconsciously to himself, he was growing in power and depth of experience.  He wrote the cantata “Der erste Ton,” a large number of songs, the first of his great piano sonatas, several overtures and symphonies, and the opera “Sylvana” ("Das Waldmaedchen” rewritten and enlarged), which, both in its music and libretto, seems to have been the precursor of his great works “Der Freischutz” and “Euryanthe.”  At the first performance of “Sylvana” in Frankfort, September 16, 1810, he met Miss Caroline Brandt, who sang the principal character.  She afterward became his wife, and her love and devotion were the solace of his life.