Senta's
courage rises to the occasion. Though the Dutchman has cast her off,
she remains true to her vows. She hastens to the edge of the cliff hard
by, and with a wild cry hurls herself into the sea. Her solemn act of
renunciation fulfils the promise of her lips. The gloomy vessel of the
Dutchman, its mission accomplished, sinks into the waves, while the
forms of Senta and the Dutchman transfigured with unearthly light are
seen rising from the bosom of the ocean.
The music of 'Der Fliegende Hollaender' may be looked at from two points
of view. As a link in the chain of Wagner's artistic development, it is
of the highest interest. In it we see the germs of those theories which
were afterwards to effect so formidable a revolution in the world of
opera. In 'Der Fliegende Hollaender' Wagner first puts to the proof the
_Leit-Motiv_, or guiding theme, the use of which forms, as it were, the
base upon which the entire structure of his later works rests. In those
early days he employed it with timidity, it is true, and with but a
half-hearted appreciation of the poetical effect which it commands; but
from that day forth each of his works shows a more complete command of
its resources, and a subtler instinct as to its employment. The
intrinsic musical interest of 'Der Fliegende Hollaender' is unequal.
Wagner had made great strides since the days of 'Rienzi,' but he had
still a vast amount to unlearn.
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