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The Sachs Motive betokens the genial nature of this sturdy, yet gentle man—the master spirit of the drama. He combines the force of a conservative character with the tolerance of a progressive one, and is thus the incarnation of the idea which Wagner is working out in this drama, in which the union of a proper degree of conservative caution with progressive energy produces a new ideal in art. To Sachs's innuendo that Beckmessers' marking hardly could be considered just, as he is a candidate for Eva's hand, Beckmesser, by way of reply, chides Sachs for having delayed so long in finishing a pair of shoes for him, and as Sachs makes a humorously apologetic answer, the Cobbler Motive is heard.
The sturdy burgher calls to Walther to finish his song in spite of the masters. And now a finale of masterful construction begins. In short, excited phrases the masters chaff and deride Walther. His song, however, soars above all the hubbub. The 'prentices see their opportunity in the confusion, and joining hands they dance around the marker's box, singing as they do so. We now have combined with astounding skill Walther's song, the 'prentices' chorus, and the exclamations of the masters. The latter finally shout their verdict: "Rejected and outsung!" The knight, with a proud gesture of contempt, leaves the church. The 'prentices put the seats and benches back in their proper places, and in doing so greatly obstruct the masters as they crowd toward the doors. Sachs, who has lingered behind, gazes thoughtfully at the singer's empty chair, then, with a humorous gesture of discouragement, turns away.
Act II. The scene of this act represents a street in Nuremburg crossing the stage and intersected in the middle by a narrow, winding alley. There are thus two corner houses—on the right corner of the alley Pogner's, on the left Sachs's. Before the former is a linden-tree, before the latter an elder. It is a lovely summer evening.
The opening scene is a merry one. David and the 'prentices are closing shop. After a brisk introduction based on the Midsummer Festival Motive the 'prentices quiz David on his love affair with Magdalena. The latter appears with a basket of dainties for her lover, but on learning that the knight has been rejected, she snatches the basket away from David and hurries back to the house. The 'prentices now mockingly congratulate David on his successful wooing. David loses his temper and shows fight, but Sachs, coming upon the scene, sends the 'prentices on their way and then enters his workshop with David. The music of this episode, especially the 'prentices' chorus, is bright and graceful.
Pogner and Eva, returning from an evening stroll, now come down the alley. Before retiring into the house the father questions the daughter as to her feelings concerning the duty she is to perform at the Mastersinging on the morrow. Her replies are discreetly evasive. The music beautifully reflects the affectionate relations between Pogner and Eva. When Pogner, his daughter seated beside him under the linden-tree, speaks of the morrow's festival and Eva's part in it in awarding the prize to the master of her choice before the assembled burghers of Nuremburg, the stately Nuremburg Motive is ushered in.
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Magdalena appears at the door and signals to Eva. The latter persuades her father that it is too cool to remain outdoors and, as they enter the house, Eva learns from Magdalena of Walther's failure before the masters. Magdalena advises her to seek counsel with Sachs after supper.
The Cobbler Motive shows us Sachs and David in the former's workshop. When the master has dismissed his 'prentice till morning, he yields to his poetic love of the balmy midsummer night and, laying down his work, leans over the half-door of his shop as if lost in reverie. The Cobbler Motive dies away to pp, and then there is wafted from over the orchestra like the sweet scent of the blooming elder the Spring Motive, while tender notes on the horn blossom beneath a nebulous veil of tremolo violins into memories of Walther's song. Its measures run through Sachs's head until, angered at the stupid conservatism of his associates, he resumes his work to the brusque measures of the Cobbler's Motive. As his ill humour yields again to the beauties of the night, this motive yields once more to that of spring, which, with reminiscences of Walther's first song before the masters, imbues this masterful monologue with poetic beauty of the highest order. The last words in praise of Walther ("The bird who sang today," etc.) are sung to a broad and expressive melody.