revolutionary sense of "the universal law of change and renewal": on Saturday he has an attack of holiness, and asks, "Can you conceive a moral action of which the root idea is not renunciation?" In short, Wagner can be quoted against himself almost without limit, much as Beethoven's adagios could be quoted against his scherzos if a dispute arose between two fools as to whether he was a melancholy man or a merry one. THE MUSIC OF THE RING THE REPRESENTATIVE THEMES To be able to follow the music of The Ring, all that is necessary is to become familiar enough with the brief musical phrases out of which it is built to recognize them and attach a certain definite significance to them, exactly as any ordinary Englishman recognizes and attaches a definite significance to the opening bars of God Save the King. There is no difficulty here: every soldier is expected to learn and distinguish between different bugle calls and trumpet calls; and anyone who can do this can learn and distinguish between the representative themes or "leading motives" (Leitmotifs) of The Ring. They are the easier to learn because they are repeated again and again; and the main ones are so emphatically impressed on the ear whilst the spectator is looking for the first time at the objects, or witnessing the first strong dramatic expression of the ideas they denote, that the requisite association is formed unconsciously. The themes are neither long, nor complicated, nor difficult. Whoever can pick up the flourish of a coach-horn, the note of a bird, the rhythm of the postman's knock or of a horse's gallop, will be at no loss in picking up the themes of The Ring. No doubt, when it comes to forming the necessary mental association with the theme, it may happen that the spectator may find his ear conquering the tune more easily than his mind conquers the thought. But for the most part the themes do not denote thoughts at all, but either emotions of a quite simple universal kind, or the sights, sounds and fancies common enough to be familiar to children. Indeed some of them are as frankly childish as any of the funny little orchestral interludes which, in Haydn's Creation, introduce the horse, the deer, or the worm. We have both the horse and the worm in The Ring, treated exactly in Haydn's manner, and with an effect not a whit less ridiculous to superior people who decline to take it good-humoredly. Even the complaisance of good Wagnerites is occasionally rather overstrained by the way in which Brynhild's allusions to her charger Grani elicit from the band a little rum-ti-tum triplet which by itself is in no way suggestive of a horse, although a continuous rush of such triplets makes a very exciting musical gallop.