Act II. The second act opens with a darkly portentous _Vorspiel_. On

the very threshold of it we meet _Fafner_ in his motive, which is so clearly based on the Giant Motive that there is no necessity for quoting it. Through themes which are familiar from earlier portions of the work, the _Vorspiel_ rises to a crashing fortissimo.

The curtain lifts on a thick forest. At the back is the entrance to _Fafner's_ cave, the lower part of which is hidden by rising ground in the middle of the stage, which slopes down toward the back. In the darkness the outlines of a figure are dimly discerned. It is the Nibelung _Alberich_, haunting the domain which hides the treasures of which he was despoiled. From the forest comes a gust of wind. A bluish light gleams from the same direction. _Wotan_, still in the guise of a Wanderer, enters.

The ensuing scene between _Alberich_ and the _Wanderer_ is, from a dramatic point of view, episodical. Suffice it to say that the fine self-poise of _Wotan_ and the maliciously restless character of _Alberich_ are superbly contrasted. When _Wotan_ has departed the Nibelung slips into a rocky crevice, where he remains hidden when _Siegfried_ and _Mime_ enter. _Mime_ endeavours to awaken dread in _Siegfried's_ heart by describing _Fafner's_ terrible form and powers. But _Siegfried's_ courage is not weakened. On the contrary, with heroic impetuosity, he asks to be at once confronted with _Fafner_. _Mime_, well knowing that _Fafner_ will soon awaken and issue from his cave to meet _Siegfried_ in mortal combat, lingers on in the hope that both may fall, until the young Wälsung drives him away.

Now begins a beautiful lyric episode. _Siegfried_ reclines under a linden-tree, and looks up through the branches. The rustling of the trees is heard. Over the tremulous whispers of the orchestra--known from concert programs as the "Waldweben" (forest-weaving)--rises a lovely variant of the Wälsung Motive. _Siegfried_ is asking himself how his mother may have looked, and this variant of the theme which was first heard in "The Valkyr," when _Sieglinde_ told _Siegmund_ that her home was the home of woe, rises like a memory of her image. Serenely the sweet strains of the Love-Life Motive soothe his sad thoughts. _Siegfried_, once more entranced by forest sounds, listens intently. Birds' voices greet him. A little feathery songster, whose notes mingle with the rustling leaves of the linden-tree, especially charms him.

The forest voices--the humming of insects, the piping of the birds, the amorous quiver of the branches--quicken his half-defined aspirations. Can the little singer explain his longing? He listens, but cannot catch the meaning of the song. Perhaps, if he can imitate it he may understand it. Springing to a stream hard by, he cuts a reed with his sword and quickly fashions a pipe from it. He blows on it, but it sounds shrill. He listens again to the birds. He may not be able to imitate his song on the reed, but on his silver horn he can wind a woodland tune. Putting the horn to his lips he makes the forest ring with its notes:

[Music]

The notes of the horn have awakened _Fafner_ who now, in the guise of a huge serpent or dragon, crawls toward _Siegfried_. Perhaps the less said about the combat between _Siegfried_ and _Fafner_ the better. This scene, which seems very spirited in the libretto, is ridiculous on the stage. To make it effective it should be carried out very far back--best of all out of sight--so that the magnificent music will not be marred by the sight of an impossible monster. The music is highly dramatic. The exultant force of the Motive of Siegfried the Fearless, which rings out as _Siegfried_ rushes upon _Fafner_, the crashing chord as the serpent roars when _Siegfried_ buries the sword in its heart, the rearing, plunging music as the monster rears and plunges with agony--these are some of the most graphic features of the score.

_Siegfried_ raises his fingers to his lips and licks the blood from them. Immediately after the blood has touched his lips he seems to understand the bird, which has again begun its song, while the forest voices once more weave their tremulous melody. The bird tells _Siegfried_ of the ring and helmet and of the other treasures in _Fafner's_ cave, and _Siegfried_ enters it in quest of them. With his disappearance the forest-weaving suddenly changes to the harsh, scolding notes heard in the beginning of the Nibelheim scene in "The Rhinegold." _Mime_ slinks in and timidly looks about him to make sure of Fafner's death. At the same time _Alberich_ issues forth from the crevice in which he was concealed. This scene, in which the two Nibelungs berate each other, is capitally treated, and its humour affords a striking contrast to the preceding scenes.

As _Siegfried_ comes out of the cave and brings the ring and helmet from darkness to the light of day, there are heard the Ring Motive, the Motive of the Rhinedaughters' Shout of Triumph, and the Rhinegold Motive. The forest-weaving again begins, and the birds bid the young Wälsung beware of _Mime_. The dwarf now approaches _Siegfried_ with repulsive sycophancy. But under a smiling face lurks a plotting heart. _Siegfried_ is enabled through the supernatural gifts with which he has become endowed to fathom the purpose of the dwarf, who unconsciously discloses his scheme to poison _Siegfried_. The young Wälsung slays _Mime_, who, as he dies, hears _Alberich's_ mocking laugh. Though the Motive of Siegfried the Fearless predominates at this point, we also hear the Nibelung Motive and the Motive of the Curse--indicating _Alberich's_ evil intent toward _Siegfried_.

_Siegfried_ again reclines under the linden. His soul is tremulous with an undefined longing. As he gazes in almost painful emotion up to the branches and asks if the bird can tell him where he can find a friend, his being seems stirred by awakening passion.

The music quickens with an impetuous phrase, which seems to define the first joyous thrill of passion in the youthful hero. It is the Motive of =Love's Joy=:

[Music]

It is interrupted by a beautiful variant of the Motive of Love-Life, which continues until above the forest-weaving the bird again thrills him with its tale of a glorious maid who has so long slumbered upon the fire-guarded rock. With the Motive of Love's joy coursing through the orchestra, _Siegfried_ bids the feathery songster continue, and, finally, to guide him to _Brünnhilde_. In answer, the bird flutters from the linden branch, hovers over _Siegfried_, and hesitatingly flies before him until it takes a definite course toward the background. _Siegfried_ follows the little singer, the Motive of Love's joy, succeeded by that of Siegfried the Fearless, bringing the act to a close.