presents a symbol of duality in unity for the eye like that of this phrase for the ear. How simple yet profound is the idea that all the conflicting passions of the drama are one in origin and in nature. Am I becoming fantastical in thinking that Wagner purposed that this philosophical concept should be stated in the basic material of his music? I think not; but if there is a haunting fear that way it may be dissipated by looking a little further into the prelude. After a brief development of this first musical thought by means of repetition on various degrees of the scale and changes of instrumental color, two new phrases are reached. The first:

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followed immediately by:

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Now, let us stop to note some resemblances, and from significant portions of the play derive a meaning for our symbols. In this we cannot be helped, as we sometimes are, by natural likenesses. These melodies are not imitative or delineative of external things; they are the result of efforts to give expression to soul-states. At the beginning of Scene 5, Act I., the entrance of Tristan is proclaimed in a manner that leaves no doubt as to the meaning of the first of the two phrases now under investigation. The melody there appears extended, in augmentation, as the musicians say. It stands for the hero of the tragedy. The genesis of the love of Tristan and Isolde must next be studied. That love antedated the beginning of our tragedy. Isolde relates the story of its beginning to her maid. Disguised as a harper, Tristan had come to Ireland to be healed of a wound received in battle with Isolde's betrothed, whom he had killed. Isolde nursed him, but before he was completely restored to health she discovered that the edge of his sword was broken, and that a splinter of steel taken from the head of her dead lover fitted into the nick. The slayer of her betrothed lay before her. She raised the sword to avenge his death, but as she was about to strike, Tristan turned his glance upon her. He looked not at the threatening sword, but into her eyes, and in a moment her heart was empty of anger. Hatred had given place to love. Note here that while Wagner uses that silly apparatus of mediæval romance, the philter, it is not as the creator or provoker of love; that is born without the aid of magic other than Nature's. "He looked into my eyes," says Isolde, and immediately the tender second phrase is uttered by the orchestra. It is thus that this phrase is identified with the glance which aroused Isolde's love.

The material which has now been marshalled is practically all that is contained in the prelude; but there are two modifications of the fundamental phrase which ought to be noticed. One of these, frequently treated responsively by the instruments to build up a climax,