--Frau Wesendonck--Wagner and Dom Pedro of Brazil--First performances
in Munich and New York--The prelude--Wagner's poetical exposition--
The song of the Sailor--A symbol of suffering--The Death Phrase--The
Shepherd's mournful melody--His merry tune--Tristan's death.

Chapter XIV "Parsifal"

The story--The oracle--The musical symbol of Parsifal--Herzeleide--
Kundry--Suffering and lamentation--The bells and march--The
eucharistic hymn--The love-feast formula--Faith--Unveiling of the
Grail--Klingsor's incantation--The Flower Maidens--The quest of the
Holy Grail--Personages and elements of the legend--Ethical idea of
Wagner's drama--Biblical and liturgical elements--Wagner's aim--The
Knights Templars--John the Baptist, Herodias, and the bloody head--
Relics of Christ's sufferings--The Holy Grail at Genoa--The sacred
lances at Nuremberg and Rome--Ancient and mediaeval parallels of
personages, apparatuses, and scenes--Wagner's philosophy--Buddhism--
First performances of "Parsifal" in Bayreuth and New York, (footnote).

Chapter XV "Die Meistersinger von Nurnberg"

"Ridendo castigat mores"--Wagner's adherence to classical ideals of
tragedy and comedy--The subject of the satire in "Die Meistersinger"
--Wagenseil's book on Nuremberg--Plot of the comedy--The Church of
St. Catherine in Nuremberg--A relic of the mastersingers--Mastersongs
in the Municipal Library--Wagner's chorus of mastersingers, (footnote)
--A poem by Sixtus Beckmesser--The German drama in Nuremberg--Hans
Sachs's plays--His Tannhauser tragedy--"Tristram and Iseult"--"The
Wittenberg Nightingale" and "Wach' auf!"--Wagner's quotation from an
authentic mastersong melody--Romanticism and classicism--The prelude