e disconcerting, even distressing, to the ear than a
schoolboy's first efforts. Of this style of harmony the Italians were
masters, and too often in his _Rienzi_ days Wagner, thinking of his
"melody" (for at that time by "melody" he meant Bellini melody),
showed how little they could teach him in this respect. With the
simpler "melody" went the harmony--complicated as you like when the
occasion called, but never more complicated than the occasion
warranted. Compare with the war-chorus and march in _Rienzi_ the march
in the second act of _Tannhaeuser_, and the difference will be seen.
This march, by the way, ought to have been signed "after C.M. von
Weber."

IV

_Tannhaeuser_ was written in an epoch of long or big works of every
description. Think of the length of the novels of Thackeray and
Dickens; think of the interminable _Ring and the Book_! Our immediate
ancestors were a long-enduring, often long-suffering, generation.
Perhaps they liked good value for their money. If so, Richard gave
them what they wanted. He himself must have felt he had done so in
_Tannhaeuser_, for fond though he was of his own music, he allowed it
to be cut freely. Even as it stands, the finale of the second act is
preposterous: the ripe and perfect artist who planned _Tristan_ would
never have done such a thing. But with regard to the finales--and they
are all too long--it certainly appears that Wagner deliberately made
use of crowds of people and masses of tone to carry through and
emphasize his dramatic purpose. In the first act every one is rejoiced
to have Tannhaeuser amongst them, and Tannhaeuser himself has much to
say on finding himself free of the Hoerselberg nightmare, and in
familiar, homely, human scenes once more. The anger of the nobles in
the second, Elisabeth's grief and intercession for her lover, her
self-abasement--it is part of the drama to make us feel these things
and time is required. The finale of the last act I give up altogether.
Nor can I understand why Elisabeth's prayer should be so long drawn
out. Elisabeth has "nothing to do with the case." However, Wagner
thought she had; so we can only be thankful when she finishes, and
after Wolfram's song the action recommences with the entry of
Tannhaeuser. The opera is planned on a huge scale, and in such works
_longueurs_ are apt to occur.

The overture foretells the drama that is to ensue, but not
consecutively as in the _Dutchman_. We have the pilgrims' hymn, the