a nuclear war. In opera and theatre The story was adapted into the English melodrama The Flying Dutchman; or the Phantom Ship: a Nautical Drama, in three acts (1826) by Edward Fitzball, with music by George Rodwell. The 48-page text, published c.1829, acknowledges the Blackwood's story as the source. Richard Wagner's opera The Flying Dutchman (1843) is adapted from an episode in Heinrich Heine's satirical novel The Memoirs of Mister von Schnabelewopski (Aus den Memoiren des Herrn von Schnabelewopski) (1833), in which a character attends a theatrical performance of The Flying Dutchman in Amsterdam. Heine had first used the legend in his Reisebilder: Die Nordsee (Pictures of Travel: the North Sea) (1826), which simply repeats from Blackwood's Magazine the features of the vessel being seen in a storm and sending letters addressed to persons long since dead. In his 1833 elaboration, Heine introduced the chance of salvation through a woman's devotion and the opportunity to set foot on land every seven years to seek a faithful wife. It was once thought that Heine may have based the episode on Fitzball's play, which was playing at the Adelphi Theatre in London, but the run had ended on 7 April 1827 and Heine did not arrive in London until the 14th; it was not published until its revival in 1829. Unlike Fitzball's play, which is set off the Cape of Good Hope, Heine's account is set in the North Sea off Scotland. Wagner's opera was similarly planned to take place off the coast of Scotland, although during the final rehearsals he transferred the action to another part of the North Sea, off Norway. Pierre-Louis Dietsch composed an opera Le vaisseau fantôme, ou Le maudit des mers (The Phantom Ship, or The Accursed of the Sea), which was first performed on 9 November 1842 at the Paris Opera. The libretto by Paul Foucher and H. Révoil was based on Walter Scott's The Pirate as well as Frederick Marryat's novel The Phantom Ship and other sources, although Wagner thought it was based on the scenario of his own opera, which he had just sold to the Opera. The similarity of Dietsch's opera to Wagner's is slight, although Wagner's assertion is often repeated. Berlioz thought Le vaisseau fantôme too solemn, but other reviewers were more favourable. Dutchman (1964), a short play by Amiri Baraka, uses the legend as a symbol of entrapment. In art and