On the other hand, the ring theme, when it begins to hurtle through the third scene of The Rhine Gold, cannot possibly be referred to any special feature in the general gloom and turmoil of the den of the dwarfs. It is not a melody, but merely the displaced metric accent which musicians call syncopation, rung on the notes of the familiar chord formed by piling three minor thirds on top of one another (technically, the chord of the minor ninth, ci-devant diminished seventh). One soon picks it up and identifies it; but it does not get introduced in the unequivocally clear fashion of the themes described above, or of that malignant monstrosity, the theme which denotes the curse on the gold. Consequently it cannot be said that the musical design of the work is perfectly clear at the first hearing as regards all the themes; but it is so as regards most of them, the main lines being laid down as emphatically and intelligibly as the dramatic motives in a Shakespearean play. As to the coyer subtleties of the score, their discovery provides fresh interest for repeated hearings, giving The Ring a Beethovenian inexhaustibility and toughness of wear. The themes associated with the individual characters get stamped on the memory easily by the simple association of the sound of the theme with the appearance of the person indicated. Its appropriateness is generally pretty obvious. Thus, the entry of the giants is made to a vigorous stumping, tramping measure. Mimmy, being a quaint, weird old creature, has a quaint, weird theme of two thin chords that creep down eerily one to the other. Gutrune's theme is pretty and caressing: Gunther's bold, rough, and commonplace. It is a favorite trick of Wagner's, when one of his characters is killed on the stage, to make the theme attached to that character weaken, fail, and fade away with a broken echo into silence. THE CHARACTERIZATION