I have attempted nothing more than a broad and rough description of the _Rhinegold_. The opera was planned as a prelude, and suffers from the defects of the plan, as well as from the fact that it was written before Wagner's new method was ripe. He wrote to Liszt that the music came up "like wild," or, as an irreverent critic once observed, like mould on a pot of jam; and the second description is truer than the speaker thought. The _Rhinegold_ has aged faster than any other of the great works. Alongside of the sublime we find the petty; after phrases as sweet and fresh as raindrops on young spring leaves we find stodgy, "made," music; the atmosphere is not preserved. But gigantic possibilities are opened out. The Rhine music is afterwards used to splendid ends; the Spear motive, which makes its first appearance in rather a trivial form--it might be a quotation from Weber or Spohr--becomes later one of the crowning glories of the _Ring_; the Fire music--the Loge theme--comes out at once in its full magnificence. It is fair criticism to say that had Wagner written the opera again after finishing the _Valkyrie_ he might have wrought up his material into a perfect work of art. A mere mortal, even the greatest mortal, could hardly be expected to attempt the task, and the _Rhinegold_ is a little less than perfect. Moreover, it is superfluous. We can follow the _Valkyrie_, _Siegfried_ and the _Dusk of the Gods_ quite well without it. Still, it is a part of Wagner's scheme, and for many a long year will be enjoyed for its power and beauty, a power and beauty that seem small only in comparison with the greater operas. CHAPTER XV 'THE VALKYRIE' I