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In that same sketch we find the wave-like figures that open Das Rheingold, with its obsession with E flat (the very start of The Ring), the motif of Wotan's spear (Das Rheingold, Scene 2), the motif of the Todesverkiindigung (Die Walkure, Act II), the 'Ride of the Valkyries' (Act III), the theme of Briinnhilde's 'justification' (Act III), some features of the scene in Siegfried in which Mime thinks of Fafner (Siegfried, Act I), Siegfried's motif of jubilation (Act I) and an anticipation of the song of the Norns (Prologue to Gotterddmmerung);4 these elements appear at all conceivable points in the present tetralogy.

But that picture gradually takes shape in the memory. (WBG, I: 570) Time, then, far from being that enemy who gnaws away at people and, in so doing, alters the image we have of them, proves to be essential for our understanding and appreciation of works of art. Posterity demands a sustained effort: 'The time, moreover, that a person requires - as I required in the case of this sonata - to penetrate a work of any depth is merely an epitome, a symbol, one might say, of the years, the centuries even, that must elapse before the public can begin to cherish a masterpiece that is really new' (WBG, I: 572).

It would not seem superfluous to quote the following passage: 'It was enough . . [that the] snow-balls . . should remind me that the Good Friday music in Parsifal symbolises a natural miracle which one could see performed every year if one had the sense to look for it' (WBG, I: 683); or the passage in which M. de Charlus says of a Jewish banker at a concert: 'He soon recovered his habitually blissful expression when he heard the Good Friday music' (CP, II: 1142). We shall see presently how this very same music played a particularly important role in the genesis of A la recherche.

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