We will now look at some of Wagner's methods of musical treatment. In the first place, we find the Overture replaced by the Vorspiel (prelude or introduction). The former, in its independent completeness, complying more or less with the exactions of the sonate form, was quite in place when operas consisted of detached pieces; whereas the "Vorspiel," which is analogous to the dramatic prologue, is better adapted to the newer form. It is composed of, or at least it introduces, the pivotal themes of the drama which it precedes. In the prelude to "Parsifal," which begins with the _communion_ theme, Wagner has accorded to it, and to the _grail_ and _faith_ motives, places of honor. They are, indeed, the foundation upon which the whole drama rests, and are the keys to its situations. We find the traditional closing form (Coda) conspicuous by absence, the prelude leading up to and closing in the opening tones of the first act. This omission is grateful, for all careful musical listeners must have been disturbed time and again by the long-drawn, fanfare effects that custom has placed at the end of musical pieces. They are relics of barbarism to which even Beethoven's genius could not impart logical significance. The composer who, having finished the development of his themes, having said what he had to say, appends a closing form composed of either new material or of old inconsequently presented, sacrifices symmetry and vital force. If custom required poets to attach Hallelujah-Hosanna verses to their finished poems, the result would not be intrinsically more incongruous than that produced by the average musical coda. A piece of music should end roundly, with a peroration, but this peroration must be adapted to the character and length of that which has preceded it, must grow out of the themes from which the piece has been developed, and form an integral part of the whole. The oft-mentioned intangibility of our art seems to induce timidity among her devotees, and unfortunately this timidity is often greatest among those who are best fitted to introduce innovations. We will next consider the vocal treatments of Wagner's texts. Following his course from the beginning, we find the singer's parts grow less and less melodic, but the listener, if not the singer, has more than adequate compensation for this loss of lyric quality in the dramatic power gained. Reverting to our simile of the statue, the stage setting and orchestra provide an atmosphere, and the singer breathes into the text the breath which launches it into life.