All these things, which relieved the sombre hues of the picture have faded into dimness. The martial glory of Tristram has passed away; nothing but tragedy remains—the sin, the sorrow, the inexplicable fate which linked two separated lives together. Long ago it was a bit of witchcraft pure and simple; now the magic drink has become the symbol of mystery and doom, and what not. Like Paolo and Francesca da Rimini, the guilty souls are hurried round and round without a moment’s respite by the whirlwind of their passion, in that wonderful opera which the most devoted followers of Wagner esteem his masterpiece of blended poetry and music. The fierce, dark, rapturous rejoicing of love on the very edge of death lights it up with a lurid glare, which makes everything else look pale and fanciful by comparison; it has no parallel in art, even among Wagner’s other works, nor can any one desire that it should have. The great difficulties which stand in the way of its representation may prevent it from ever becoming popular in the sense in which “Lohengrin” and “Tannhäuser” are popular; but those who have had the good fortune to hear it will not easily forget its unique and terrible power. It is strange that Wagner should have made King Mark an ideal uncle, tender and forgiving to the last degree, and so full of self-denial that had he but known of the fatal drink in time, he would have resigned his bride to his nephew with the best grace in the world. Dramatically the action loses by this change; the sympathies of the audience are baffled and divided; do what we will, the conduct of the hero seems mean and treacherous, and his death more arbitrary than it need have been, since Melot, the traitor who gives him his mortal wound, had far less reason to hate him than had the injured bridegroom. Indeed, it is difficult to see what Wagner himself thought that he gained by this amendment, unless that tragedy itself becomes more tragic by the needless suffering inflicted on a high and noble soul, ready to sacrifice its dearest hopes rather than undergo the agony of seeing another’s virtue tempted beyond endurance. There is also one dire offence against good taste, worthy of Wagner’s earliest models (and of Shakespeare in “King Lear”,) in the scene where Tristram tears the bandage from his wounds. But if the hero fares rather badly, until we forgive him for the sake of his death-cry, “Liebe!” the heroine has never in the course of her long life found such an interpreter. She has lost, indeed, her old, light-hearted innocence; but she has lost it to become one of the grandest and most original creations in the whole range of the drama. She surpasses even the bounds of passion; the very _fury_ of love is upon her, from the moment when, foreseeing that she can no longer live without him, she resolves to make Tristram drink with her of the death-drink, and the charm begins to work, to the moment when she falls dead besides his body.