great a failure as all the other reactions have done; for they do not recognize its identity with any reaction that ever occurred before. Take for instance the hackneyed historic example of the austerity of the Commonwealth being followed by the licence of the Restoration. You cannot persuade any moral enthusiast to accept this as a pure oscillation from action to reaction. If he is a Puritan he looks upon the Restoration as a national disaster: if he is an artist he regards it as the salvation of the country from gloom, devil worship and starvation of the affections. The Puritan is ready to try the Commonwealth again with a few modern improvements: the Amateur is equally ready to try the Restoration with modern enlightenments. And so for the present we must be content to proceed by reactions, hoping that each will establish some permanently practical and beneficial reform or moral habit that will survive the correction of its excesses by the next reaction. DRAMATIC ORIGIN OF WOTAN We can now see how a single drama in which Wotan does not appear, and of which Siegfried is the hero, expanded itself into a great fourfold drama of which Wotan is the hero. You cannot dramatize a reaction by personifying the reacting force only, any more than Archimedes could lift the world without a fulcrum for his lever. You must also personify the established power against which the new force is reacting; and in the conflict between them you get your drama, conflict being the essential ingredient in all drama. Siegfried, as the hero of Die Gotterdammerung, is only the primo tenore robusto of an opera book, deferring his death, after he has been stabbed in the last act, to sing rapturous love strains to the heroine exactly like Edgardo in Donizetti's Lucia. In order to make him intelligible in the wider significance which his joyous, fearless, conscienceless heroism soon assumed in Wagner's imagination, it was necessary to provide him with a much vaster dramatic antagonist than the operatic villain Hagen. Hence Wagner had to create Wotan as the anvil for Siegfried's hammer; and since there was no room for Wotan in the original opera book, Wagner had to work back to a preliminary drama reaching primarily to the very beginnings of human society. And since, on this world-embracing scale, it was clear that Siegfried must come into conflict with many baser and stupider forces than those lofty ones of supernatural religion and political constitutionalism typified by Wotan and his wife Fricka, these minor antagonists had to be dramatized also in the persons of Alberic, Mime, Fafnir, Loki, and the rest. None of these appear in Night Falls On The Gods save Alberic, whose weird dream-colloquy with Hagen, effective as it is, is as purely theatrical as the scene of the Ghost in Hamlet, or the statue in Don Giovanni. Cut the conference of the Norns and the visit of Valtrauta to Brynhild out of Night Falls On The Gods, and the