The Riga period is one of the most important of Richard Wagner's life. He had married Minna Planer, who is said to have been a very pretty woman and quite incapable of understanding her husband and his artistic aspirations; and he began, slowly and tentatively, to shape a course through life for himself. Wagner continued to gain experience in the production of other composers' operas; he studied incessantly, and at last he hit upon the idea of writing a grand opera in the Meyerbeer style, and going to Paris with it, in the hope of getting it produced at the opera there. He was harassed by creditors; and with the daring and energy characteristic of the man whom Fate had destined to build Bayreuth, he determined to try by one bold stroke to retrieve his fortunes. Wagner was still a young man when he went to Riga in 1837, but he was in such a feverish hurry for fame and glory, not to say money, that no obstacle was allowed to stand in his way. During the last few years he had composed a number of occasional things — which we need not stop to consider — but nothing on the sumptuous scale of Rienzi. Heroic personages, dramatic or melodramatic situations, opportunities for huge gaily-dressed crowds and scenic display — these were what the young man was after; and in the story of Rienzi he found plenty to fire an imagination always prone to flame and flare at the slightest suggestion. The libretto for Rienzi was written; the music was partly written; and in 1839 Wagner took one of the most momentous steps in all his stormy career — he sailed from Riga, accompanied by his wife and dog, with the intention of reaching Paris by way of London.