More recent German opera has been in a state of confusion, owing to the enormous influence of Richard Wagner. The immense success of this master's embodiment of his own theories of the lyric drama has led to a general abolition of the set forms of the Italian school and equally to an abandonment of such attempts as those of Weber to employ the song form. That German opera has gained in richness and dramatic power by the disuse of formality and the employment of all the resources of the modern declamatory arioso and orchestration cannot be denied. But only one or two composers have shown sufficient individuality to prevent them from being buried under their own imitations of the Wagnerian style. Peter Cornelius (1824-1874), an earnest advocate of the Wagner ideas, wrote "The Barber of Bagdad," "The Cid," and "Gunlod." Of these the first is one of the most successful works of the school known as the new romanticists. The score is full of the most characteristic and fluent melody, admirably written and distributed among the various voices and instruments. The themes are rich in meaning and charged with individuality. The musical characterization is faithful and the musical humor simply delicious. Carl Goldmark (1830-), in his "Queen of Sheba" and "Merlin," made an attempt to superimpose the modern German style upon a ground plan somewhat Meyerbeerian. The music is full of sensuous richness and at times rises to heights of genuine passion, while every opportunity to introduce spectacular features, such as processions and ballets, is seized. But it cannot fairly be said that any German has done anything toward the development of opera since Weber except Wagner, and he has influenced operatic composers the world over. It is to him and his theories that I now invite the attention of the reader. Chapter XXVI Wagner and the Music Drama Points of resemblance between Wagner's theories and Peri's--His use of the myth as a subject--How he abandoned the old forms and made a new one--The _leit motiv_ system--What it is and its merits--How _leit motiv_ are made and developed--Not necessary to identify them--Wagner's recitative and independent accompaniment--How combined.