Just then time was pressing him hard. He was under contract to produce "La Jolie Fille de Perth" by the end of the year, and he was already well into October. It became a matter of fifteen and sixteen hours work a day; for there were lessons to be given, proofs to be corrected, piano transcriptions to be made, and the rest. And, truth to tell, he was terribly lacking in method. He was choke-full of ideas, he was indeed borne along by a very torrent of them; and if only he could have stopped to collect himself it would have been well for him. But no; before he realised it, "La Jolie Fille" was finished and in rehearsal. Then for the time he was able to put enough distance between himself and his work to value it. And it seems to have pleased him. "The final rehearsal," he writes to Galabert (by this time his confidant in most things), "has produced a great effect. The piece is really highly interesting, the interpretation is excellent, and the costumes are splendid. The scenery is new and the orchestra and the artists are full of enthusiasm. But more than all this, _cher ami_, the score of 'La Jolie Fille' is _une bonne chose_. The orchestra lends to all a colour and relief for which, I confess, I never dared to hope. I think I have arrived this time. Now, _il faut monter, monter, monter, toujours_."
Shortly after this he married Geneviève Halévy, the daughter of the composer of "La Juive," and lived almost exclusively at le Vésinet. There, at 8, Rue des Cultures, a rustic place enough, one might find Georges Bizet, seated in his favourite corner of the lovely garden, _en chapeau de canotier_, smoking his pipe and chatting to his friends. It had been the home of Jacques Halévy, and Bizet had been wont to do his courting there. Now the old man was no more, and in the long summer days, the daughter and the son--for Halévy had been as a father to Bizet--missed sorely the familiar figure hard at work with rake or hoe at his beloved flower-beds. They were the passion of his later days, and they well repaid his care. Even in the middle of a lesson--and he taught up to well-nigh the last weeks of his life--would he rush out to uproot a noxious weed that might chance to catch his eye. "How well I remember my first day there," says Louis Gallet. "The war was not long finished, and the traces of it were with us yet. True, Paris had resumed her lovely girdle of green; but beneath this verdure reflected in the tardy waters of the Seine, there was enough still to tell the terrible tale of ruin. One could not go to Pecq or le Vésinet without some difficulty. Bizet, to save me trouble, had taken care to meet me at Rueil, whence we made for the little place where he was staying for the summer. The day was lovely, and 'Djamileh' made great strides as we talked and paced the pretty garden walks. This habit of discussing while walking, what was uppermost in his mind, was always, to me, a powerful characteristic of Georges Bizet. I do not remember any important discussion between us that did not take place during a stroll, or at all events whilst walking, if only to and from his study. We talked long that afternoon--of the influence of Wagner on the future of musical art, of the reception in store for 'Djamileh,' both by the public and by the Opéra Comique itself. This latter, indeed, was no light matter. The Direction was then undertaken by two parties: that of Du Locle, tending towards advancement in every form; that of De Leuven, clinging with all the force of tradition to the past.