brand, and invoking Loge, god of fire, flings it
into the pyre. Her horse is brought to her, and she proudly mounts
it:--

"Grane, my horse,
Hail to thee here!
Knowest thou, friend,
How far I shall need thee?
Heiaho! Grane!
Greeting to him.
Siegfried! See, Bruennhilde
Joyously hails thee, thy bride."

She swings herself upon her steed and dashes into the furious flames.
At last they die away, and the Rhine rushes forward from its banks and
covers the pyre. The exultant Rhine-daughters are swimming in the
flood, for Bruennhilde has thrown them the ring. Hagen makes a last
desperate effort to clutch it, but Woglinde and Wellgunde wind their
arms about him, and as they drag him into the depths Flosshilde holds
the ring above the waters, and the exultant song of the
Rhine-daughters is heard above the swelling tide, while far in the
distance a red flame spreads among the clouds. Walhalla is blazing in
the sky. The Dusk of the Gods has come. Reparation has been made. The
hero without fear is victorious. Free will, independent of the gods,
will rule the world, and the gods themselves are lost in the human
creation. Love is given to men, and conquers death.

PARSIFAL.

"Parsifal," a "Buehnenweihfestspiel" (festival acting-drama), words by
Wagner, was concluded in 1879, and first produced at Baireuth, July
22, 1882, only about seven months before the distinguished composer's
death, with Mme. Friedrich-Materna as Kundry, Herr Winckelmann as
Parsifal, and Herr Scaria as Gurnemanz.

The theme of the opera is taken from the cycle of Holy Grail myths to
which "Lohengrin" also belongs. The reader will remember that
Lohengrin in his final address declares himself son of Parsifal, the
King of the Grail; and it is with this Parsifal that Wagner's last
work is concerned. Parsifal, like Siegfried, represents free human
nature in its spontaneous, impulsive action. He is styled in the text,
"Der reine Thor" (the guileless fool), who, in consonance with the old
mythological idea, overcomes the evil principle and gains the crown by
dint of pure natural impulse. The opera differs widely from "The
Nibelung Ring." The composer has used the free instead of the
alliterative form of verse, which he then contended was best adapted
to musical setting. In "The Ring" the chorus is not introduced at all
until the last division is reached, while in "Parsifal" it plays an
important part in every act, in the second scene