, her betrothed lover, who enters to
announce the approach of Daland, hears her wild words, and in vain
reminds her of vows and promises made long ago. When Daland brings the
Dutchman in, and Senta sees before her the hero of her romance, the
living embodiment of the mysterious picture, she gazes spell-bound at
the weird stranger, and seems scarcely to hear her father's hasty
recommendation of the new suitor's pretensions. Left alone with the
Dutchman, Senta rapturously vows her life to his salvation, and the
scene ends with the plighting of their troth.

In the last act we are once more on the seashore. The Dutch and
Norwegian vessels are moored side by side, but while the crew of the
latter is feasting and making merry, the former is gloomy and silent as
the grave. A troop of damsels runs on with baskets of food and wine;
they join with the Norwegian sailors in calling upon the Dutchmen to
come out and share their festivities, but not a sound proceeds from the
phantom vessel. Suddenly the weird mariners appear upon the deck, and
while blue flames hover upon the spars and masts of their fated vessel,
they sing an uncanny song taunting their captain with his failure as a
lover. The Norwegian sailors in terror hurry below, the girls beat a
hasty retreat, and silence descends once more upon the two vessels.
Senta issues from Daland's house, followed by Erik. In spite of his
importunity, her steadfast purpose remains unmoved; but the Dutchman
overhears Erik's passionate appeal and, believing Senta to be untrue to
himself, rushes on board his ship and hastily puts out to sea. Senta's
courage rises to the occasion. Though the Dutchman has cast her off,
she remains true to her vows. She hastens to the edge of the cliff hard
by, and with a wild cry hurls herself into the sea. Her solemn act of
renunciation fulfils the promise of her lips. The gloomy vessel of the
Dutchman, its mission accomplished, sinks into the waves, while the
forms of Senta and the Dutchman transfigured with unearthly light are
seen rising from the bosom of the ocean.

The music of 'Der Fliegende Hollaender' may be looked at from two points
of view. As a link in the chain of Wagner's artistic development, it is
of the highest interest. In it we see the germs of those theories which
were afterwards to effect so formidable a revolution in the world of
opera. In 'Der Fliegende Hollaender' Wagner first puts to the proof the
_Leit-Motiv_, or guiding theme, the