THE DIVIDED ANVIL.
He now wishes to test its temper, and, raising it aloft, he brings it down, giving a tremendous blow to the anvil, which is cleft in twain, sparks following the anvil to the ground. Those who have never seen “Siegfried” can form but a faint idea of the realism of this scene, which taxes the resources of the property master to the utmost. It will now be asked how the very clever illusion of the forge and anvil is produced. Our [engraving] gives an idea of the rear of the forge. It consists of a rough table, the front of which is covered with canvas to represent rocks. The top of the table is quite well hidden from the spectators by painted work which masks the front of the forge so that the mechanism for obtaining the light effects from the top is disguised. The gas is connected with the forge by means of two pieces of rubber hose, one of which is provided with a small burner which is kept constantly lighted. Before the curtain is raised it is not noticeable, as it is turned down until the flame is blue. When Siegfried goes to the forge and heaps on the coal, the stage hand called the “gas man” turns on the gas so that it flows through the other pipe, which ends in a rose burner at the top of the forge. The instant the gas reaches the rose burner it is ignited by the jet which was kept lighted. By manipulating the valve, the quantity of gas is regulated so that the flame burns high or low as desired. As soon as the fire is supposed to rise to any height the glare of it is cast upon Siegfried’s face. This is accomplished by means of incandescent lamps which are arranged one on each side of the rose burner and three just in front, in the painted work which masks the front of the forge. The lamps are arranged on two circuits; those in the middle on one circuit, and those on the back of the forge on another circuit. The wires run into the wings, and the electrician lights them and dims them, as required, by means of rheostats. Steam is used to give the effect of smoke. This is admitted by a stage hand in the wings. The quantity of steam admitted depends upon the height to which the fire is supposed to have risen. It may thus be seen that the effect of the lighting is produced by a clever combination of gas, electricity, and steam, which must be combined with the greatest possible art. In the old forge at the Metropolitan Opera House, which was burned in the fire, the effect was obtained in a slightly different way. A man was placed under the forge, and when the flame was to rise, he blew lycopodium powder into it from a box underneath the top of the forge. A quantity of the powder was blown out at each stroke of the bellows. The particles of the volatile powder caught fire when they came in contact with the gas jet, thus producing the effect of the gaseous flames from blacksmith’s coal and its sparks. The new arrangement is considered to be more desirable.
Under the top of the forge will be noticed a shelf on which are kept two swords. This enables Siegfried to substitute the swords as becomes necessary, and here is kept the sword with a firmly riveted hilt which he finally uses to strike the anvil.
The trough is also connected with a steam pipe. When Siegfried throws into the trough the mold which encases the sword, and when he tempers the sword, the steam rises. The steam is supplied from a drilled iron pipe. This pipe is connected with the steam pipes at the side of the stage by means of a hose which is carefully covered from view. The anvil upon which Siegfried strikes in forging the sword has one side covered by a piece of corrugated iron, six by twelve inches, and another piece of iron is over it, as shown in our engraving. It is arranged so that when the bow piece of iron at the top comes in contact with the lower piece a momentary short circuit is produced, so that at each stroke of the hammer a shower of sparks is produced. When Siegfried raises his sword and brings it down upon the anvil, he really strikes a spring which lets one half of the anvil fall, its under and outer side having the corner cut off for the purpose, as will be seen from our [engraving].
There are other interesting properties and illusion in “Siegfried.” We have just seen how Siegfried has forged his sword “Rescue;” now begin a series of wonderful adventures which only end with his death in the “Götterdämmerung.” The second act of “Siegfried” takes place in a forest in which is seen a great linden tree. The whole stage is covered with rocks, and at the left, at the back, is a cave which shelters “Fafner,” a giant who has taken the form of a dragon in order to protect the treasures concealed in the cave, which include the mysterious ring and the Tarnhelmet, which gives the possessor unlimited power. Mime and Siegfried approach, Mime showing the way to the cave. Mime then leaves Siegfried alone to his fate. The youthful hero sits down beneath the linden tree and listens to the voice of the bird. He wishes that he could understand its language, and, cutting a reed, he makes a rude musical instrument with which he attempts to imitate the bird’s notes, but the result is a failure. He then takes up his silver horn and blows several blasts upon it. He has, however, no comprehension as yet of the song of the birds, but the sound of the horn has awakened Fafner, who appears in the mouth of the cave. The hideous creature moves forward from the cave and says: “Who art thou?” Then, after a moment’s conversation, Fafner opens his tremendous jaws, displaying his teeth. Siegfried seizes his sword and confronts Fafner. The now enraged dragon belches forth a sulphurous breath, while his eyes gleam with a very wicked light. The young Siegfried seems no match for the enormous beast. The dragon has almost seized Siegfried when the latter succeeds in wounding him slightly. The animal rears up on his fore feet, with the intention of hurling himself upon the intruder in order to crush him. In doing this, however, he exposes his breast so that Siegfried is enabled to plunge his sword into the monster’s heart. Fafner rears up still higher, and finally sinks upon the ground, and the dying monster sings of the race of the giants and the curse of the dwarfs. At last he dies, and as Siegfried withdraws the sword, his hand becomes sprinkled with blood. He puts his fingers to his mouth to suck off the blood. He now hears the forest bird again, and this time he is able to understand the language.
FAFNER, THE DRAGON IN “SIEGFRIED.”