The cycle of four operas written on the same set of legends, _Rheingold_, _Die Walküre_, _Siegfried_, and _Gotterdämmerung_, is conveniently spoken of as the “Ring.” The term is derived in the same way as is the word cycle or circle, and expresses a complete or rounded group of ideas: it is not in any way taken from the actual golden ring which figures largely in the plot as the desired object around which so much of the story centres. It is not possible here to go into detail as to the plots of these four operas; they may and should be studied before hearing the work, by means of one of the numerous handy volumes on the subject which have been published during recent years. Suffice it to say that each of the operas is a complete work in itself, the shortest being _Rheingold_, which is in one long act lasting about two hours: the longest is _The Dusk of the Gods_, which plays for about five hours. _Die Walküre_ and _Siegfried_ are each of them ordinary operas in three acts. The legendary story of the Nibelungs forms the basis of the operas, and with it is combined the birth of Siegfried, child of earth-mortal and of war-maiden (Walküre), his life, death, and the general fall of the gods. The conception of the “Ring” was somewhat fortuitous. Wagner started with the story of Siegfried; he then found that he must explain that by telling the story of Brünnhilde, the war-maiden. To make this clear, a prelude (Rheingold) was necessary for the explanation of the presence of the cursed gold which lies buried beneath the Rhine, and over which gods and mortals fight and contend. In the _Ring_, Wagner’s use of _leit-motiven_ and general principles reach their highest consummation. The music has its supreme moments of beauty, which are apparent to every auditor. For him who would sound these works to their fullest depths, study and concentrated thought are, in addition, necessary. In most cases, full enjoyment of the wondrous beauties and complexities of the scores will only come after hearing and much rehearing. [Sidenote: “=Parsifal=”] Wagner’s last opera, _Parsifal_, returns to the subject of the “Holy Grail,” and is entitled a Sacred Festival Drama. Its composer’s wish was that it should be performed at Bayreuth only, and for more than twenty years this request, backed also by copyright laws, was followed. Recently, however, in New York and in Amsterdam enterprising managers have, much against Madame Wagner’s wish, put it before their patrons. According to all accounts it is less impressive in an ordinary theatre than amidst the quiet surroundings of Bayreuth, and it seems to be a work unsuited for general performance, and one that should only be given at a suitable time, in a suitable place, and before an audience thoroughly in sympathy with the subject. Its performances in England have so far been restricted to the concert-room, when its Prelude, the Good Friday music, the chorus of Flower Girls, and other excerpts are sometimes given.