The interest of 'Lohengrin' lies rather in the subtle treatment of the characters than in the intrinsic beauty of the story itself. Lohengrin's love for Elsa, and his apparent intention of settling in Brabant for life, seem scarcely consistent with his duties as knight of the Grail, and, save for their mutual love, neither hero nor heroine have much claim upon our sympathies. But the grouping of the characters is admirable; the truculent witch Ortrud is a fine foil to the ingenuous Elsa, and Lohengrin's spotless knighthood is cast into brilliant relief by the dastardly treachery of Telramund. The story of 'Lohengrin' lacks the deep human interest of 'Tannhaeuser,' and the music never reaches the heights to which the earlier work sometimes soars. But in both respects 'Lohengrin' has the merit of homogeneity; the libretto is laid out by a master hand, and the music, though occasionally monotonous in rhythm, has none of those strange relapses into conventionality which mar the beauty of 'Tannhaeuser.' Musically 'Lohengrin' marks the culminating point of Wagner's earlier manner. All the links with the Italian school are broken save one, the concerted finale. Here alone he adheres to the old tradition of cavatina and cabaletta--the slow movement followed by the quick. The aria in set form has completely disappeared, while the orchestra, though still often used merely as an accompaniment, is never degraded, as occasionally happens in 'Tannhaeuser,' to the rank of a 'big guitar.' The opening notes of 'Lohengrin' indeed prove incontestably the increased power and facility with which Wagner had learnt to wield his orchestra since the days of 'Tannhaeuser.' The prelude to 'Lohengrin'--a mighty web of sound woven of one single theme--is, besides being a miracle of contrapuntal ingenuity, one of the most poetical of Wagner's many exquisite conceptions. In it he depicts the bringing to earth by the hands of angels of the Holy Grail, the vessel in which Joseph of Arimathea caught the last drops of Christ's blood upon the cross. With the opening chords we seem to see the clear blue expanse of heaven spread before us in spotless radiance. As the Grail motive sounds for the first time _pianissimo_ in the topmost register of the violins, a tiny white cloud, scarcely perceptible at first, but increasing every moment, forms in the zenith. Ever descending as the music gradually increases in volume, the cloud resolves itself into a choir of angels clad in white, the bearers of the sacred cup. Nearer and still nearer they come, until, as the Grail motive reaches a passionate _fortissimo_, they touch the earth, and deliver the Holy Grail to the band of faithful men who are consecrated to be its earthly champions. Their mission accomplished the angels swiftly return. As they soar up, the music grows fainter. Soon they appear once more only as a snowy cloud on the bosom of the blue. The Grail motive fades away into faint chords, and