He leaned out of the box and was soon deeply interested in the pantomimic action on the stage, while Beaumont swept the glittering horseshoe with his opera-glass to see if he could espy a friend. Very shortly he saw a man with whom he was well acquainted, and left the box with a muttered apology, while Reginald, absorbed in the ballet, took no notice of his departure.
Veils of pale green gauze were falling like a curtain in front of the stage, which was flooded with an emerald light, and away at the back could be seen the Sea Palace of the Lorelei, above which undulated the blue waves of the ocean. The daring young knight in silver armour was standing like a statue in the centre of the stage and round him the nymphs, linked hand in hand, were wreathing in mysterious evolutions, growing slower and slower till they all paused, grouped in graceful attitudes like living statues. A strange low chord from the orchestra and then there stole forth a weird subtle melody that seemed to possess a snake-like fascination as it arose and fell with shrill sounds of clarinet and violin. A sudden ripple as of silver bells and the fatal Rhine nymph glided on to the stage from a huge shell placed far back in the restless green water. Then there was a dance of fascination in which the knight resisted the allurements of the Lorelei, but the sleeping nymphs also awoke and re-commenced their dreamy dance, while through the swing and beat of the band there stole the strange wild piping of the Lorelei motif. At last the knight yielded, there was a storm of somewhat discordant music and all the evil things of ocean came trooping on to the stage, dashing at length into a mad galop as they surged and rolled round the knight, now captive in the arms of the siren. A thick darkness spread over the scene and when the light broke again, the ocean halls had vanished and a merry crowd of peasants were dancing on a fair lawn to the piping of a shepherd.
Reginald did not like this latter scene so much, as it lacked the mysterious enticement of the former, and felt rather disappointed, but he was quite repaid by the last scene of the ballet, which represented the fatal Lorelei rock amid turbid waters under the pale light of the moon.
On the shore wandered the spell-enchained knight, and Blake thought of Heine's ballad with its foreboding beginning,
"Ich weiss nicht was soil is bedeuten,"
as the mysterious melody of the Lorelei began to once more steal from amid the sombre music of the orchestra. Lonely is the knight, for he loves naught on earth while the water witch has power over him. Shriller and shriller arose the melody and suddenly a white blaze of electric light envelopes the rock, upon which stands the siren, combing her marvellous locks of gold.
With mystic gestures she beckons the knight, he launches a boat and the waves rise white and threatening amid a storm of music from the orchestra, while overhead the thunder rolls and the lightning flashes. The boat reaches the rock, strikes, and in a moment the knight is struggling in the water with hands stretched out imploringly to the Water Witch. Darkness once more, then again the emerald light shines, showing the Halls of the Lorelei, who stands over the dead body of the knight, while around swing the river nymphs with floating hair and waving hands, then the shrill piping of the Lorelei motif sounds once more and the curtain falls.
"Well, what do you think of the ballet?" asked Beaumont, who had returned to the box and was watching with keen interest the dreamy look upon the young man's face.
"I think it is charming," replied Reginald, in whose head the mysterious melody of the Lorelei was still ringing, "but what a fool that knight was."
"Ah, do you think so?" rejoined the artist, lightly. "There I do not agree with you. Many a man has had his life wrecked by listening to the music of the Sea Witch. The legend of the Lorelei is simply an allegory of life."