A Book of Operas: Their Histories, Their Plots, and Their Music

by Henry Edward Krehbiel

(The "Abgesang")
Thus spake the angel graciously:
"The Lord with thee,
Thou blessed she;
The Lord's voice saith,
Which breathes thy breath,
That men have earned eternal death.
Faith
Saves alone from sin's subjection;
For while weak Eve God's anger waked,
'Twas, Ave, thine the blest election
To give the world peace and protection,
Most blessed gift
To mortals ever given!"

In Nuremberg the veritable Hans Sachs wrote plays on Tännhauser, Tristan, and Siegfried between three and four hundred years before the poet-composer who put the old cobbler-poet into his comedy. Very naïve and very archaic indeed are Hans Sachs's dramas compared with Wagner's; but it is, perhaps, not an exaggeration to say that Sachs was as influential a factor in the dramatic life of his time as Wagner in ours. He was among the earliest of the German poets who took up the miracle plays and mysteries after they had been abandoned by the church and developed them on the lines which ran out into the classic German drama. His immediate predecessors were the writers of the so-called "Fastnacht" (Mardi-gras) plays, who flourished in Nuremberg in the fifteenth century. Out of these plays German comedy arose, and among those who rocked its cradle was another of the mastersingers who plays a part in Wagner's opera,—Hans Folz. It was doubtless largely due to the influence of Hans Sachs that the guild of mastersingers built the first German theatre in Nuremberg in 1550. Before then plays with religious subjects were performed in St. Catherine's church, as we have seen, the meeting place of the guild. Secular plays were represented in private houses.

Hans Sachs wrote no less than 208 dramas, which he divided into "Carnival Plays," "Plays," "Comedies," and "Tragedies." He dropped the first designation in his later years, but his first dramatic effort was a Fastnachtspiel, and treated the subject of Tannhäuser and Venus. It bears the date February 21, 1517, and was therefore written 296 years before Wagner was born. Of what is now dramatic form and structure, there is not a sign in this play. It is merely a dialogue between Venus and various persons who stand for as many classes of society. The title is: "Das Hoffgesindt Veneris," or, as it might be rendered in English, "The Court of Venus." The characters are a Herald, Faithful Eckhardt, Danheuser (sic), Dame Venus, a Knight, Physician, Citizen, Peasant, Soldier, Gambler, Drunkard, Maid, and Wife. The Knight, Citizen, and the others appear in turn before Venus and express contempt for her powers,—the Knight because of his bravery, the Physician because of his learning, the Maid because of her virtue, the Wife because of her honor. Faithful Eckhardt, a character that figures in many Thuringian legends, especially in tales of the Wild Hunt, warns each person in turn to beware of Venus. The latter listens to each boast and lets loose an arrow. Each boaster succumbs with a short lamentation. When the play opens, Danheuser is already a prisoner of the goddess. After all the rest have fallen victims, he begs for his release, and they join in his petition. Venus rejects the prayer, speaks in praise of her powers, and calls on a piper for music. A general dance follows, whereupon the company go with the enchantress into the Venusberg. The last speech of Venus ends with the line:—

So says Hans Sachs of Nuremberg.

There is but a single scene in "The Court of Venus." In other plays written in after years, no matter how often the action demanded it, there is neither change of scenes nor division into acts; and the personages, whether Biblical or classical, talk in the manner of the simple folk of the sixteenth century. Sachs's tragedy, "Von der strengen Lieb' Herrn Tristrant mit der schönen Königin Isalden" ("Of the strong love of Lord Tristram and the beautiful Queen Iseult"), contains seven acts, as is specified in the continuation of the title "und hat sieben Akte." It was written thirty-six years later than the carnival play and three years after the establishment of a theatre in Nuremberg by the mastersingers. Each act ends with a triple rhyme. Though Sachs uses stage directions somewhat freely compared with the other dramatists of the period, the personages all speak in the same manner, and time and space are annihilated in the action most bewilderingly. Thus, no sooner does Herr Tristrant volunteer to meet Morhold der Held to settle the question of "Curnewelshland's" tribute to "Irland" than the two are at it hammer and tongs on an island in the ocean. All the other incidents of the old legends follow as fast as they are mentioned. Tristrant saves his head in Ireland when discovered as the slayer of Morhold by ridding the country of a dragon, and is repeatedly convicted of treachery and taken back into confidence by König Marx, as one may read in Sir Thomas Malory's "Morte d'Arthur." Sachs follows an old conclusion of the story and gives Tristrant a second Iseult to wife, and she tells the lie about the sails. The first Iseult dies of a broken heart at the sight of her lover's bier, and the Herald in a speech draws the moral of the tale:—

Aus dem so lass dich treulich warnen,
O Mensch, vor solcher Liebe Garnen,
Und spar dein Lieb' bis in die Eh',
Dann hab' Ein lieb' und keine meh.
Diesselb' Lieb' ist mit Gott und Ehren,
Die Welt damit fruchtbar zu mehren.
Dazu giebt Gott selbst allewegen
Sein' Gnad' Gedeihen und milden Segen.
Dass stete Lieb' und Treu' aufwachs'
Im ehlich'n Stand', das wünscht Hans Sachs.

One of the most thrilling scenes in "Die Meistersinger" is the greeting of Hans Sachs by the populace when the hero enters with the mastersingers' guild at the festival of St. John (the chorus, "Wach' auf! es nahet gen den Tag"). Here there is another illustration of Wagner's adherence to the verities of history, or rather, of his employment of them. The words of the uplifting choral song are not Wagner's, but were written by the old cobbler-poet himself. Wagner's stage people apply them to their idol, but Sachs uttered them in praise of Martin Luther; they form the beginning of his poem entitled "The Wittenberg Nightingale," which was printed in 1523.

To the old history of Nuremberg written by Wagenseil, Wagner went for other things besides the theatre and personages of his play. From it he got the rules which governed the meeting of the mastersingers, like that which follows the religious service in the church of St. Catherine in the first act, and the singular names of the melodies to which, according to David, the candidates for mastersingers' honors were in the habit of improvising their songs. In one instance he made a draft on an authentic mastersinger melody. The march which is used throughout the comedy to symbolize the guild begins as follows:—

[Musical excerpt]

Here we have an exact quotation from the beginning of the first Gesetz in the "Long Tone" of Heinrich Müglin, which was a tune that every candidate for membership in the guild had to be able to sing. The old song is given in full in Wagenseil's book, and on the next page I have reproduced a portion of this song in fac-simile, so that my readers can observe the accuracy of Wagner's quotation and form an idea of the nature of the poetic frenzy which used to fill the mastersingers, as well as enjoy the ornamental passages (called "Blumen" in the old regulations) and compare them with the fiorituri of Beckmesser's serenade.