After a while subdued and solemn strains from the hidden orchestra creep into the theatre—the opening notes of the _Rheingold_. The performance of the _Ring des Nibelungen_ has begun. The house is darkened, and will have no more light than what is sent to it from the stage. Slowly, very slowly, the curtain is drawn aside, and through a dim mist faintly we see the Rhine-maidens swimming in the sacred stream. So perfect is the illusion that we seem to be looking into the very depths of the river from some fairy vantage-ground. The poetry of music, language, motion (dancing was one of those elements of the ancient Greek drama of which Wagner recognized the value), all combine to make that perfect appeal to sight and hearing and the senses of the soul which is the essence of the Tone-Drama. There is no dropping of the curtain at the end of the first act—clouds of steam roll up lazily in the foreground, and are met by falling mists of gauze and network—the stage grows dimmer and more dim, until all is hidden. Slowly and mysteriously the clouds fade away, and the second scene is revealed. Beautiful as are the first two scenes, I think that the Cave of the Dwarfs is even more captivating. The great rocks on the right of the stage run back into the mystery of space; the trickling of water gleaming here and there amid the mosses gives a most realistic effect—just what may be seen in some natural Alpine cavern. On the left is the glowing forge of the gnomes, which looks as if the whole stage must presently blaze into flames. The horrors of this miniature hell, with the appearance of the laidly worm and the little crooked dwarfs rushing about intent upon some weird business, leave the impression of a Satan’s Sabbath. It is a scenic effect beyond all anticipation, difficult to realize. Wagner was a great magician, and could transport his people whither he listed—for, mark you! it is all his doing—his the conception, his the execution. The book, the music, the scenery, the stage-management, all the invention of that one brain. What a power he wielded! You must journey to Bayreuth to feel its full force. There the master mind, the singers, the orchestra, and last, not least, the audience, are all in sympathy, and it is the creation of this sympathy which shows how great Wagner was.