Little is left to be said, or much, for "Götterdämmerung" must be treated as a separate drama or dismissed shortly in the light of what has already been written. In this drama we come to the drawing together of the threads, the stretto of the dream fugue. Behold Brünnhilde, who has given all her wisdom to Siegfried and hence has none left for herself, sending him out in quest of further reputation as a mighty hero. There is something pathetic in this and also pitiably modern. Must husbands have had outings in the elemental days even as now? Was the epic man inconstant of soul? Ah Brünnhilde! A wise woman would go with him. It is not good for man to be alone. Siegfried arrives at the domicile of the desirable Gibichung family and accepts an unknown drink from a pretty girl he never saw before. His rusticity beams from his guileless countenance, and to Hagen, the experienced one, he is as the ripe pear on the low-hanging bough. Pitiable weakling Siegfried! Call ye this a hero of all the world? Pitiable Gunther, you do well to swear blood brotherhood with him. You are a well-mated pair. Pitiable Gutrune! Siegfried was not for you, though your drink did make him forget that he remembered and dream that he forgot. In the hands of Hagen, the only really clever person in the drama, these three are as clay in the hands of the potter. Hagen could not command success, because Loge was more powerful than he, and the ultimate ruin of the gods would have been deferred had Hagen gained possession of the accursed ring; but he deserved success, and that, as Sempronius was long ago informed, was something worthy of respect. Two elements of this final drama remain confronting us. They are the most tremendous of all Wagner's heroines, the completed woman, Brünnhilde, and the most potent of all psychologic music outside of "Tristan und Isolde." When Siegfried, in the end of the drama bearing his name, hurls the flood of human love at the reduced Valkyr, he awakens in her that which lifts her above principalities and kingdoms. "Indeed I love thee. Come, Yield thyself up--my hopes and thine are one: Accomplish thou my manhood and thyself; Lay thy sweet hands in mine and trust to me." Almost might Tennyson have substituted his words for those of Wagner, and truly they are more graceful. In "Götterdämmerung" we find Brünnhilde with her womanhood completed. Filled full to the lips and eyes with love, she is risen to a majesty which as the laughing Valkyr she never knew. Compared with her Olympian splendor, the fumbling weakness of her sire becomes indeed pitiable. With what heroine is she to be compared? Set her for a moment over against Isolde, who also died upon her true love's body.