thing to be desired. They have the world-devastation, Muspilli, the
"Twilight of the Gods." It is this conquering of the world through the
victory of self which Wagner conveys as the highest interpretation of
our national myths. As Brunhilde approaches the funeral pyre to
sacrifice to the beloved dead, Siegfried, the life--the only tie which
still binds her to this earth--she says:

"If, like a breath, the gods disappear,
Without a pilot the world I leave.
To the world I will give now my holiest wisdom:
Not goods, nor gold, nor god-like pomp,
Not house, nor lands, nor lordly state,
Not wicked plottings of crafty men,
Not base deceits of cunning law,--
But, blest in joy and sorrow let only love exist."

Such was the "Ring of the Nibelungen" which Wagner created out
of the vast collection of German legends and not merely out of
the distinctively national Nibelungen epic. The completion of
"Siegfried's death," now the "Goetterdaemmerung," led to Siegfried's
"Schwertschmiedung," (Sword-wielding); "Drachenkampf,"
(Dragon-struggle) and "Brautgewinnung," (Bride-winning) and further
investigation of the subject led him in the "Walkuere" to picture
Brunhilde's guilt and punishment, and finally in the "Rheingold" a
psychological foundation for the whole. The work took this mental
shape as early as 1851. Two years later, the poem, for which he had
chosen the alliterative style of the Edda as the only suitable form,
was given to his friends, and in 1863 to the world. From that time his
sole ambition was to bring this first all-comprehensive German
national drama into life by having it performed as a distinct
festival-play far from the everyday theatre. Nearly twenty years
elapsed between this and the realization of the idea. But why take
note of time when great and grand things are to be accomplished?

The following decade brought with it many changes to Wagner, without
however at any time diverting his mind from the purpose of his life,
which constantly became clearer. Every opportunity was improved to
direct attention and approach nearer to it. The death of Spontini gave
occasion to a memorial tribute, closing with the words: "Let us bow
reverently before the grave of the creator of the 'Vestalin,'
'Cortez,' and 'Olympia.'" He sought with operas and concerts to
develop the limited musical resources of Zurich, where he had taken up
his permanent residence, because he had always