its author, Mariette Bey--His archaeological discoveries at Memphis
--Camille du Locle and Antonio Ghislanzoni--First performance of
the opera--Unpleasant experiences in Paris--The plot--Ancient
Memphis--Oriental melodies and local color--An exotic scale--The
antique trumpets and their march.

Chapter XI "Der Freischutz"

The overture--The plot--A Leitmotif before Wagner--Berlioz and
Agathe's air--The song of the Bridesmaids--Wagner and his dying
stepfather--The Teutonism of the opera--Facts from a court record
--Folklore of the subject--Holda, Wotan, and the Wild Hint--How
magical bullets may be obtained--Wagner's description of the Wolf's
Glen--Romanticism and classicism--Weber and Theodor Korner--German
opera at Dresden--Composition of "Der Freischutz"--First
performances in New York, (footnote).

Chapter XII "Tannhauser"

Wagner and Greek ideals--Methods of Wagnerian study--The story of
the opera--Poetical and musical contents of the overture--The
bacchanale--The Tannhauser legend--The historical Tannhauser--The
contest of minstrels in the Wartburg--Mediaeval ballads--Heroes
and their charmers--Classical and other parallels--Caves of Venus--
The Horselberg in Thuringia--Dame Holda--The tale of Sir Adelbert.

Chapter XIII "Tristan und Isolde"

The old legend of Tristram and Iseult--Its literary history--Ancient
elements--Wagner's ethical changes--How the drama came to be written