In his later dramas Wagner makes the vocal parts purely musical declamation. He endeavors to, and usually succeeds in intensifying the elocutionary effects through changes of pitch and expressive rhythm, but gives the singer's convenience and voice limitations little attention. The singer's parts are, therefore, very difficult to learn and exhausting to sing, and they afford so little opportunity for display that only a love of art, strongly flavored with self-abnegation, could induce singers to attempt them. My study of Wagner's works has greatly increased my respect for the intellects of Wagnerian singers. Any man or woman who can sing a leading part in one of the music-dramas acceptably, must have been endowed with strong throat and lungs, and must have acquired a faultless vocal method. It is almost needless to say that the texts are set without any of those old-time illogical repetitions in which composers indulged, in order that happy thoughts--good musical episodes--might be amplified. Wagner never lost sight of his central idea, and made everything bend to its fullest realization. His orchestra does not accompany, in the common acceptation of that term, but sings into its many-voiced melody the sentiments and moods suggested by the text. The principal means used in the attainment of this end is the "Leit Motif." Its auxiliaries are the countless shades of harmonic and instrumental color which Wagner commanded. These "Leit Motifs" (leading and characteristic themes) constituted Wagner's vocabulary. They expressed to him personalities, moods, or sentiments, as the case required, and they were consequently chosen to impersonate these in his schemes. They sometimes consist of a few tones, and again of phrases. They appear in varied forms to suit changing conditions, but their impersonations are only made clearer through their elastic adaptability. These themes seldom appear in the vocal parts, but Wagner makes them, through adaptation and instrumentation, express each shade, from sunlight to storm, from love, trust, and worship, to wrath, fear, and hate, and in this way follows his text on parallel lines,--music by the side of and reinforcing poetry. Wagner's demands on the stage-carpenter and scene-painter are so great that none but large theatres with ample means can properly realize his ideas of pictorial illustration. He possessed remarkable talent for inventing scenic effects, and disregarded cost.