During the long interval that elapsed between the execution of the earlier portion of the Second Act of _Siegfried_ and the resumption of his work many things happened to Wagner. He composed _Tristan_ and the _Mastersingers_; he went through his worst years of utter despair; he was taken up by King Ludwig. As I have mentioned, he went to Triebschen to complete the _Ring_ for the sake of his conception of the hero Siegfried--and he went there a jaded man. And there is an unmistakable quality in the music of his Third Act. In _Tristan_ and the _Mastersingers_ we have the perfectly mature Wagner; inspiration, invention and technical accomplishment are perfectly balanced. What we feel immediately in the third act of _Siegfried_ is a certain over-ripeness--as if the writing of music had become too easy. As we proceed I shall give some instances of this, though not so many as might be given. Siegfried is now on the point of reaching the height of his fortunes. He has the Sword, has killed the Dragon, secured the Ring and the magic cap which will enable him to change himself into any shape he pleases. Following the fluttering bird he comes to a pass on the mountain-side and encounters Wotan who, we know, had sworn that none who feared his Spear should pass through the fire. He endeavours to stop the Hero, who shatters the Spear. Siegfried passes on; the flames leap up at his approach and subside as he boldly goes on. He finds Brünnhilda sleeping, awakes her with a kiss, overcomes her resistance, and the opera concludes with a triumphant love-duet. This is the skeleton of what is, dramatically if not musically, the most important of the three acts.