The fantastic garden, created by the magician, Klingsor, in order to reduce and ruin the Knights of the Grail, was a thing difficult to conceive. Wagner wished for something absolutely improbable; the conception of a dream, a wild efflorescence brought to life by the stroke of a wand, not by plodding earthly labor; he was dissatisfied with every attempt. He has, however, obtained his desire, and it appears that on the stage this scene is one of the most successful of all. What is most singular is that these giant flowers, sheaves, clusters, and thickets, which leave only a corner on the horizon visible, fade away and die in the twinkling of an eye, leaving in sight only an arid moor, shut in by snowy mountains, while a shower of withered leaves and dried petals falls upon the ground. The flowering meadow near the spring wood, which shelters the hermit's hut, with its clear spring murmuring beneath the thick moss, is truly enchanting. From this we return by a shifting of scenes analogous to that in the first act, to the temple of the Grail, where the piece ends. The costumes are not more easy of invention, for the master will not be satisfied with anything like the costumers' indignation. Even should they all become wretched they must yield. The enchantresses evoked by the magician,--women who are flowers, as the syrens are fishes,--are those who give the most trouble. Wagner will not have attractive young girls, but real animated flowers. There is also the tunic of the terrible and marvellous Kundry. 1st October. The master has kept his promise this evening, and has let us hear fragments from Parsifal. "Liszt's presence makes me lose my powers in a measure," he said, laughing, "he intimidates me, for I know that my false notes irritate him." Unfortunately, Liszt, who only yesterday improvised upon the piano in a delightful manner, blending with his own inventions motions from Tristan and Isolde, has slightly wounded his finger, and cannot play. It must certainly be acknowledged that Wagner is an imperfect pianist, and he is the first to laugh at his own imperfection. We notice, however, in a wonderful manner, certain passages which the author knows how to render with the true expression, better than any other. A few months ago, Liszt wrote to us: "Wagner has worked a new miracle, Parsifal. Those who already have the good fortune to understand this new work share this opinion; the singers are enraptured. Judging from the general impression, this ought to be a new transformation in the master's method,--one of those giant steps to which he is accustomed. In this instance the height and refinement of art combine to produce an effect of apparent simplicity and perfect serenity." This evening we take leave of our illustrious hosts, promising to meet them again next year at the first representation of Parsifal. POETIC WORK. WAGNER'S POETIC WORK. FROM RIENZI TO TRISTAN AND ISOLDE.