When Wotan and Loge descend to the Nibelung's cave to steal the treasure Wagner frankly lets himself loose. Here we have the hobgoblins of the Teutonic imagination and the rude, boisterous, humorous Wotan of the Scandinavian imagination--the Odin who tried to drink the sea dry and laughed to find he could not. As the once-celebrated Sir Augustus Harris declared, "This is pantomime." Perhaps the scene is unduly protracted, but the music goes on merrily enough. The renewed altercation with the Giants calls for little remark. When, however, the Giants demand the Ring and Wotan calls up Erda, the wisdom of the earth, a passage occurs which, though more or less of an irrelevant interpolation, gives Wagner a chance of putting forth his strength. Erda rises to most mysterious music, counsels Wotan to surrender the Ring, and sinks down again to her sleep; and one forgets the irrelevancy in the thrill of this vision of the Mother Earth, the spirit that sleeps amongst the everlasting hills. Finally the composer gets his great chance, and shows that, like Handel and his own Donner, he "could strike like a thunderbolt." The gods are all disheartened; mists have gathered; Donner--our old friend Thor--raises his hammer and smashes something; there is a flash of lightning and a peal of thunder; the mists and clouds clear away; and we see there the rainbow bridge over which the gods wend on their way to Valhalla. We have Wagner the sublime pictorial musician. The Rainbow motive is perhaps not very graphic in itself, but it serves as a basis for a delicious passage--evening calm and sunset after storm--comparable only with a parallel passage in Beethoven's Pastoral Symphony. The storm itself is Wagner in the plenitude of his power. It is short: it is not "worked up": in a few strokes, brief and telling as Donner's own hammer-strokes, the whole thing is done. Then the Valhalla music, glorified by a gorgeous accompaniment, is heard again, only interrupted by the wail of the Rhinemaidens below, sorrowing for the loss of their pretty, harmless toy. Wotan hears the cry, and passes on to feast in his castle. Grim care goes with him; but he has the consoling idea of the free hero and the irresistible sword. So ends the _Rhinegold_--Fricka content to have both Wotan and Freia; the other gods not much concerned about anything; Wotan full of apprehensions and also of determination--determination to rule without paying the price of rulership. V