That explanation is correct as far as it goes; but, put as I put it, it now seems to me to suggest that the operatic character of Night Falls On The Gods was the result of indifference or forgetfulness produced by the lapse of twenty ive years between the first projection of the work and its completion. Now it is clear that in whatever other ways Wagner may have changed, he never became careless and he never became indifferent. I have therefore inserted a new section in which I show how the revolutionary history of Western Europe from the Liberal explosion of 1848 to the confused attempt at a socialist, military, and municipal administration in Paris in 1871 (that is to say, from the beginning of The iblung's Ring by Wagner to the long delayed completion of Night Falls On The Gods), demonstrated practically that the passing away of the present order was going to be a much more complicated business than it appears in Wagner's iegfried.
