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On the other side was a figure of the deified Hercules, with Hebe in his lap. On the stage in the foreground a crowd of youthful forms were laughing and running about, all of whom were very happy and did not merely seem to live. The youngest looked like amorettes, the older ones like images of women.
The Graces capture the wounded and seek, while separating the intoxicated ones into pairs, to scatter them in the background. Then, still pursued by the flying amorettes, the bacchantes, fauns, satyrs, nymphs, and youths depart in various directions.
A rosy mist, growing more and more dense, sinks down, hiding first the amorettes and then the entire background, so that finally only Venus, Tannhauser, and the Graces remain visible. The Graces now turn their faces to the foreground; gracefully intertwined, they approach Venus, seemingly informing her of the victory they have won over the mad passions of her subjects.
Fearful that they themselves might be drawn into the whirlpool, they turn to the sleeping amorettes and drive them aloft. They flutter about, then gather into ranks on high, filling the upper spaces of the cave, whence they send down a hail of arrows upon the wild revellers. These, wounded by the arrows, filled with a mighty love-longing, cease their dance and sink down exhausted.
And whatever the sounds in the street, where there seemed more footfalls than before that evening, all though actual, were overpowered and formed the burden to the ghostly but delightful strains from that silvery voice. He was not only at the age to be impressionable, but he had not known one of those college amorettes which may be as innocent as a page of a scientific text-book.
Surrounding the couch in fascinating embrace are the Three Graces; beside and behind the couch innumerable sleeping amorettes, in attitudes of wild disorder, like children who had fallen asleep wearied with the exertions of a struggle.
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