Strong and serene it stands to the view--
Mighty manor new!

We have a German art! But have we also by this time a German spirit
that sways the nation's life? Have we come to detest mere might which
we have hitherto worshipped and that yet "bears within its lap evil
and thralldom?" Has the "free, fearless man," the Siegfried, been born
to us who out of himself creates the right and with the sword he
forges manfully slays the dragon that gnaws at the vitals of our being
and thus rescues the slumbering bride? This question has been hurled
into our life and history by the "Ring of the Nibelungen." It will be
heard as long as the question remains unsolved. If, according to
Wagner's conception, Beethoven wrote the history of the world in
music, then he himself has furnished a world-history in art-deeds!
Such is the meaning of this Baireuth with its Nibelungen Ring of 1876.

Let us see now what the life and work of this artist, for nigh unto
seventy years, further and finally imports to us. He also was guided
by Goethe's fervent prayer:

"O, lofty Spirit, suffer me
The end of my life's-work to see!"

CHAPTER VII.

1877-1882.

PARSIFAL.

A German Art--Efforts to maintain the Acquired Results--Concerts in
London--Recognition abroad and Lukewarmness at home--The
"Nibelungen" in Vienna--"Parsifal"--Increasing Popularity
of Wagner's Music--Judgments--Accounts of the "Parsifal"
Representations--The Theatre Building--"Parsifal," a National
Drama--Its Significance and Idea--Anti-Semiticism--The Jewish
Spirit--Wagner's Standpoint--Synopsis of "Parsifal"--The Legend of
the Holy Grail--Its Symbolic Importance--Art in the Service of
Religion--Beethoven and Wagner--"Redemption to the Redeemer."

"_Dawn then now, thou day of Gods!_"--Wagner.

"If you but will it, we shall have a German art." It is true we had a
German music, a German literature, a German art of painting, each of
high excellence, but they were not that union of German art which
floated before Wagner's mind in his "combined art-work" and which
found its first adequate interpretation in the performances of the
Nibelungen Ring. His object was now to make it permanent and to this
end he sought the means.

Accordingly on January 1, 1877, the invitation to form "a society of
patrons for the culture and maintenance of the stage-festival-plays
of Baireuth" was issued. At the same time the "Baireuther Blaetter,"
which subsequen