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PARSIFAL.
Let the reader compare this motive with that of Lohengrin (see [page 286]), and note the close musical relationship. This is in part an inversion of that, while the triple rhythm here used robs the Parsifal theme of the militant brilliancy found in that of the rescuing knight of the earlier drama. At the entrance of Parsifal, who has just shot a swan, we hear again the Swan motive from "Lohengrin" (see [page 287]). The interval between the first and second scenes of the first act introduces a new theme of great beauty. Gurnemanz leads Parsifal toward the castle of the Grail, and a remarkable change of scene is effected by the use of a panorama. During this change an instrumental passage is built up on the tones of the castle bells, which, at first heard distantly, gradually swell to a grand peal:
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THE BELLS.
As we come with the two to the hall of the Grail we hear the musical representation of the cry or lament of the Saviour:
