II
The Hall of Minstrels in the Wartburg, where the famous song-tournaments were held. Such a tournament is directly to take place, and Elizabeth for the first time after many days will preside over it. She enters the hall while it is still empty of guests, and looks around with glad affectionate eyes, like one returning home after long exile. She is sincere as she is innocent, the white princess, "une âme sans détours," and speaks the truth of her heart with wonderfully little circumlocution, as to herself now in her salutation of the hall, so to others later. "Once more I greet you, beloved hall,—oh, joyously greet you, place ever dear! In you reawaken echoes of his singing, and draw me from my melancholy dream. When he departed from you, how desolate did you appear to me! Peace deserted me, joy deserted you! But now that my breast rides high with gladness you appear to me proud again and splendid as of yore. The one who gives new life both to you and to me no longer tarries afar. All hail to you, beloved hall, all hail!"
Wolfram, who loves Elizabeth, but in such unworldly, elevated, self-abjuring wise that he can for the sake of happiness to her set wholly aside hopes, desires, and jealousies of his own, finds for Tannhäuser this opportunity of seeing the Princess alone. He leads him into her presence and effaces himself, while their interview lasts, among the arches at the back of the hall.
Tannhäuser, flushed and radiant, magnificent in his festival robes of a noble minstrel-knight, casts himself impetuously at her feet. His sudden appearance startles her painfully. Her manner speaks a confusion almost tremulous: "Father in Heaven!... Do not kneel!... It is not meet that I should see you here!"—"What else so meet? Oh, do not leave," he cries ardently, "and suffer me to remain thus at your feet!" Her timidity wears away like dew in sunshine; we fancy the play of faint gracious smiles upon her next words. "Stand up, then! Not in this place must you kneel, for this hall is your rightful kingdom. Oh, rise to your feet! Take my thanks for having come back to us. Where did you tarry so long?" Tannhäuser rises slowly. As when the Landgrave asked him the same question, a shadow falls across his countenance, his answer is vague and mysterious. "Far from here, in distant, distant lands. Heavy oblivion has dropped between to-day and yesterday. All memory of the past has quickly faded from me, and one thing only I know: that I had not hoped ever again to bow before you, or ever again to lift my eyes to you."—"What was it then that brought you back?"—"A miracle it was, an inconceivable, highest miracle!"—"Oh, from the depths of my heart I give thanks to God for that miracle!" she exclaims, and confused at her own fervour catches herself back, only to proceed further, with the candour of an angel: "Your pardon, if I hardly know what I am about! I move as if in a dream, and am feather-brained as a child, given over, hand-bound, in thrall to a miraculous power! Hardly do I recognise myself; oh, do you help me to solve the enigma of my heart!" Not only with the candour of an angel, but the simplicity of very high rank, accepting the prerogative of her station to step forward a little way to meet the favoured lover, she lays before him the puzzle over the small difficulty of which her purity and greatness make one unable to smile. "To the wise songs of the minstrels I was wont to listen often and with delight. Their singing and their descanting appeared to me a charming pastime. But what strange new life did your song awake in my breast! Now it pierced me through like pain, now roused me to mad joy. Emotions I had never felt! Desires I had never known! Things that until then had seemed to me lovely lost their charm by comparison with delights I had not even a name for! Then, when you went from among us, peace and happiness were gone too. The minstrels' songs seemed to me an uninspired affair, dim of meaning, languid of execution. My dreams were full of dull pain, my waking hours a dejected dream. All capacity for joy forsook my heart. Heinrich, Heinrich, what had you done to me?" The "singer bold," the "daring minstrel," is of a candour matching her own. "Oh, give praise to the god of Love!" he cries; "He it was who touched my strings! He spoke to you through my songs, and it is he who has brought me back to you!" They unite in joyful praise of the hour which has revealed this miracle-working of Love's.
Wolfram watching them from his distance sighs gently: "Thus fades from all my life the light of hope!" Tannhäuser, encountering him as he hastens away, lets a wave of his joy overflow in an impetuous embrace of the friend.
Elizabeth stands on the terrace overlooking the castle-court and the valley to watch the lover out of sight, moved and simply happy as a woman who is not a saint. Her whiteness loves that colour; her paleness warms itself at that glow; her gentleness glories in that force. She makes no question but that he is worthy of her love. Her high spirituality has intuition no doubt of the vast potentialities of good in that superabundant life, which of itself seems a virtue as well as a charm.
When the Landgrave enters she cannot bear his searching eyes upon her transparent face, and hides it against his breast. "Do I find you in this hall which for so long time you have avoided? You are lured at last by the song-festival we are preparing?" he questions her. She cannot answer, she falters: "My uncle!... Oh, my kind father!"—"Are you moved at last," he asks kindly, "to open your heart to me?" She lifts her face and bravely raises her eyes. "Look into my eyes, for speak I cannot!" He reads, and does not press her. "Let then for a brief space longer your sweet secret remain unspoken. Let the spell remain unbroken until yourself you have power to loose it. Be it as you please! Song, which has awakened and set working such wonders, shall to-day unfold the same and crown them with consummation. Let the Lovely Art now take the work in hand. The nobles of my lands already are assembling, bidden by me to a singular feast. In greater numbers they flock than ever before, having heard that you are to be Princess of the gathering."
The Hall of Minstrels gradually fills with these same nobles and their ladies. They salute the Landgrave and the Princess, and take their places to the well-known, long-loved march. The minstrels have seats apart from the rest, facing their audience. The Landgrave addresses them nobly, with gracious compliment for the skill shown theretofore by them in singing as in fighting, for their victorious championship of virtue and the true faith, high tradition and all things lovely. Let them offer the guests to-day a banquet of song, upon the occasion of the return among them of the "daring singer" whose absence they so long had deplored, whom a wonderful mystery has brought back into their neighbourhood. He sets to the song-contestants as their task to define the nature of love. He who shall most worthily besing it shall receive the prize from Elizabeth's hand. Let his demand be bold as he will, the Landgrave's care it shall be to see his wish granted.
Lots are drawn. Fortune appoints Wolfram to open the song-feast. He preludes pensively, and sets forth in an improvisation of slow and stately gait his delicate dreamer's sentiments: Glancing around this noble assemblage, his heart kindles at sight of so many heroes, valiant, German, and wise,—a proud oak-forest, verily, splendid, fresh and green. And among them fair and virtuous ladies, fragrant garland of beauteous flowers. The eye swoons, drunken with gazing, the poet's song grows mute before such splendour of loveliness. He fixes his eyes, then, upon one only of the stars in that dazzling firmament. His spirit is forced to worship and bow in prayer. And, behold, the vision he has of a miraculous fount, from which his spirit may draw sacred joys, his heart receive ineffable refreshment. And never would he wish to trouble that fountain, never with criminal presumption stir those waters,—but offer himself up to it in self-sacrificing adoration, and shed for its sake the last of his blood. From these words the company may apprehend what he conceives to be the nature of love at its purest.
There is warm applause from the noble knights and ladies, whether because they understand the star to be Elizabeth, and the fountain the pure love she inspires, or because it was the ideal of that period of song-contests and Courts of Love and chivalry to love with a reverence that precluded any near approach to the lady elected for adoration. A poet might marry and have seven children, while regarding with exalted passion and celebrating in enraptured song,—making into his star, his sacred fountain, his Muse, some dazzling remote princess, held to be too fair and good by far for human nature's daily food. The audience, when Wolfram resumes his seat, cry: "So it is! So it is!" and loudly praise his song.
Tannhäuser has lent ear somewhat listlessly. This hall has been called his rightful kingdom; he sits among the other minstrels consciously like a young monarch. At the closing figure of Wolfram's rhapsodical rhetoric, the image of the fount, a shadowy smile of superiority has dawned upon his face. As the applause dies, he grasps his harp and rises to take exception to Wolfram's definition. Such a song-feast was in fact a song-debate. His words come warm and ready: "I too, Wolfram, may call myself so fortunate as to behold what you have beheld. Who is there unacquainted with that fountain? Hear me loudly exalt its virtue! But yet can I not approach those waters without sense of warm longing. That burning thirst I must cool. Comforted I set lips to the spring. In full draughts I drink joy, unmixed with doubt or fear, for inexhaustible is the fountain, even as inextinguishable is my desire. That my longing therefore may be prolonged eternally, eternally I drink refreshment at the well. Know Wolfram, thus do I conceive of love's truest essence!"
There is deep silence when he has ended. One person only in the large assemblage has given a sign of approval, made a little gesture of assent, and that is Elizabeth, at bottom a very simple normal woman, who does not recognise herself as a star or a sacred well unapproachable to the one she loves. But as all refrain, she timidly checks herself, and waits to hear the rest.
Walther has taken his harp, has risen; in growing excitement, touched with indignation, he sweeps the strings: "The fountain spoken of by Wolfram, by the light of the soul I too have looked into its depths! But you, who thirst to drink at it, you, Heinrich, know it verily not! Permit me to tell you, accept the lesson: That fountain is true virtue. Devoutly you shall worship it and sacrifice to its limpid purity. Should you lay lip to it, to cool your unhallowed passion, nay, should you but sip at the outermost brim, forever gone were its miraculous power! If you shall gain life from that fountain, through the heart, not the palate, must you seek refreshment!" Again there is lively applause. Tannhäuser springs to his feet, the old contemptuousness toward these companions,—compends of density, conventionality, and hypocrisy!—curving his lip. "Oh, Walther, singing as you have done, how direly have you misrepresented love! Through such languors and timidities as you describe, the world would unmistakably go dry! To the glory of God in his exalted distance, gaze at the heavens, gaze at its stars. Pay tribute of worship to such marvels, because they pass your comprehension. But that which lends itself to human touches, which lies near to your heart and senses, that which, formed of the same clay as yourselves, in a softer shape nestles against your side, the tribute called for by that is hearty pleasure of love. Enjoyment, I say, is the essence of love!"
At this, which falls upon all ears present with the effect of rank blasphemy, Biterolf rises in wrath. "Out, out, to fight against us all. Who could be silent hearing you? If your arrogance will vouchsafe to listen, hear, slanderer, me too! When high love inspires me, it steels my weapons with courage; to save it from indignity proudly would I pour forth my last blood. For the honour of women and of lofty virtue I unsheathe my knightly sword,—but that which your youth is pleased to call pleasure is cheap enough and worth no single blow!" The audience cheer him enthusiastically: "Hail, Biterolf, our good blade!" Tannhäuser can no longer contain himself. It is now again quite as it used to be, when never could he live at peace with these purblind tortoises, dull of wit to the point of amazement, and yet pretending to pronounce upon things, pass judgment upon others. What can there be but warfare forever between him and them? But that Biterolf, this war-worn, middle-aged, rugged minstrel should take it upon himself to instruct Heinrich Tannhäuser, pupil of Venus, in matters of love! His retort comes quick, from the shoulder, so to speak, though the form is not dropped of fitting his words to chords of the peaceful harp: "Ha, fond braggart, Biterolf! Is it you, singing about love, grim wolf? But you can hardly have meant that which I hold worthy to be enjoyed. What, you poverty-stricken wight—what pleasure of love may have fallen to your share? Not rich in love your life has been! And such joys as may have sprouted along your path, indeed, were hardly worthy of a blow!"—"Let him not be allowed to finish! Forbid his insolence!" cry the incensed nobles, who had suffered Biterolf's personal attack, but find insufferable this of the over-splendid, over-bearing, over-confident youth. Biterolf's sword has leaped from its scabbard. The Landgrave orders it back. "Preserve peace, you singers!"
A hush falls as Wolfram takes the floor again. He had sacrificed every selfish hope to serve both Elizabeth and Tannhäuser, had employed himself to further their union. What now is happening is plainly terrible to him. His opinion of the friend has undergone in the last moments a grievous subversion. He has been wounded to the soul by the bold and profane tone of Tannhäuser's argument. His sensibility detects an atmosphere of sin about this novel love's advocate, and as a good and pious knight he is forced to array himself against the friend, to uphold Ideal Love in antagonism to the Carnal Love he has just heard exalted. "Oh, Heaven, hear my prayer and consecrate my song!" he sings, a pale flame informing his song, as, imaginably, his cheek and eye; "Let me see evil banished from this pure and noble circle! To you, Highest Love, let my song resound, inspired, to you that in angelic beauty have penetrated deep into my soul. As a messenger from Heaven do you appear to us; I follow from afar. You guide us toward the regions where immortally shines your star!"
Tannhäuser, exasperated, reckless, frenzied with that temperamental need of his to dominate, that impatience of being lessoned, losing sight of all but one thing, that it shall be proved to them they can teach nothing about love to him, the lover of the very Goddess of Love, seizes his harp, his sword in this duel, and breaks forth in his impassioned Praise of Venus,—the song we heard in the heart of her Hill, when he celebrated her at her own bidding, in conclusion begging so lamely for his dismissal. "To you, Goddess of Love, shall my song resound! Loud shall your praises now be sung by me! Your sweet beauty is the source of all that is beautiful, and every lovely miracle has its origin in you! He who aglow has enfolded you in his arms, he knows, and he alone, what love is! Oh, you poor-spirited, who have never tasted love, go,—to the Hill of Venus repair!"
The last words have the effect of a thunder-clap, in the consternation they produce. Tannhäuser in the drunkenness of his pride had forgotten what this revelation would mean in the ears he trumpeted it to; in his long sojourn in the pagan underworld, where his moral judgment had become dulled and perverted, had forgotten, apparently, how the Christian world regarded such commerce with it as his words betrayed. That mysterious Hörselberg looming in the distance was in popular thinking the very ante-chamber of Hell; its pleasures, paid in the world to come with eternal damnation, were rewarded in this world with excommunication and death. One who had frequented it was sin-polluted, sin-drenched, he poisoned the air with sin. All shrink back at his announcement as from a leper. The women flee precipitately from the contamination of his neighbourhood. It is like a flight of gorgeous birds. The men's instant and only thought is to immolate him, cleanse the earth of the inexpressible blot upon it that he is. "He has luxuriated in the pleasures of Hell! He has dwelled in the Hill of Venus! Abominable! Accursed! Bathe your swords in his blood! Hurl him back into the fiery lake!"
Tannhäuser stands with drawn sword facing their multitude. They are advancing toward him, his doom seems sealed,—when Elizabeth's body is found interposed shield-wise between him and their swords. Their hands are necessarily stayed. "What do we see?" their wondering question runs, "What? Elizabeth? The chaste virgin protecting the sinner?"—"Back!" the meek maiden commands with vigour enough at this pass, "or I shall not regard death! What are wounds from your swords beside the death-stroke I have received from him?" Tannhäuser starts like one awakening. He had not thought of this aspect of his action; the pride relaxes suddenly that had stiffened him. "Elizabeth!" her uncle argues with her, and the others add their voices to his, "What must I hear? How has your heart allowed itself to be stultified, that you should attempt to save from punishment the man who, added to all else, has so dreadfully betrayed you?"—"What does it matter about me?" she cries; "But he—his soul's salvation! Would you rob him of his soul's eternal salvation?" He has cast away all chance of that, they affirm; never can he gain salvation. The curse of Heaven is upon him, let him die in his sins! At their threatening approach, she spreads her arms resolutely before him. She towers tall and white, she speaks with strange authority. "Back from him! Not you are his judges! Cruel ones, cast from you the barbarous sword, and give heed to the word of the stainless virgin! Learn through me what is the will of God. The unhappy man whom a potent dreadful enchantment holds bound, what, shall he never come to Heaven through repentance and expiation in this world? You who are so strong in the pure faith, do you apprehend so ill the mind of the Most High? Would you take away the hope of the sinner? State then what wrong he has done to you. Behold me, the maiden, whose blossom he shattered with a swift blow, me, who loved him to the depths of being, and whose heart he pierced with a jubilant laugh... I plead for him, I plead for his life! Let his feet be turned into the path of penitence. Let the courage be restored to him of the faith that for him too the Saviour died!" In a spasm of realisation and self-horror the unhappy Tannhäuser hides his face and sinks to the earth. The angry lords have calmed under the Princess's exhortation. They see in her an angel descended from Heaven to announce the holy will of God. Who could persist in violence after hearing the supplications of an angel?
Tannhäuser has come at last completely to himself, to a clear vision, by light of that heavenly goodness, of what he has been, what he has done. Sapped of its pride, his spirit grovels helplessly in the lowest depths of abasement. "To lead the sinner to salvation, the God-sent came to me, but I, alas, to touch her impiously, I lifted upon her eyes of vice. Oh, Thou, far above the vale of earth, who didst send to me this angel of salvation, have mercy upon me who, ah! so deeply steeped in sin, did such ignoble wrong to the mediatrix of Heaven!"
The Landgrave decides upon the course to be taken. An abominable crime has been committed; in hypocritical disguise the accursed son of sin has slipped into their midst. Among them he may not remain, the displeasure of Heaven already lowers upon this roof which too long has covered him. One road is open to the sinner, which, while rejecting him, the Landgrave points out—let him take advantage of it to his welfare! Numerous bands of penitents are starting from this region on pilgrimage to Rome for the great Pardon. The older have left already; the younger are still gathering in the valley. Let Tannhäuser join them, go with them to the Holy City, fall upon his knees and do penance for his sin. Let him cast himself before him who speaks the decrees of God upon earth, entreat his blessing, and never return if he fail to obtain it. For if their vengeance stay its hand at the prayer of an angel, their swords will not fail to reach him if he continue in his sin. The chant comes wafted from the distance of those younger pilgrims gathering for departure: "At the great feast of peace and pardon, humbly confess your sins. Blessed is the firm in faith, he may be absolved through contrition and penance."
A ray of hope illumines Tannhäuser's face. He starts up from his knees, and with a wild cry, "To Rome!" rushes forth from the Hall.