In "Tristan and Isolde" we have another legend which was well known during the Middle Ages. It was known in Wales, Ireland, Brittany and Germany where it was a frequent theme with minnesingers, or wandering minstrels, like Walter von der Vogelweide. One of the earliest German authors to write down a version of it was a certain Godfried of Strasburg; and Wagner had at his command this and numerous other versions. English poets, also, have been greatly attracted by the tale. Sir Walter Scott, in "Thomas the Rhymer," told the simplest version. Matthew Arnold, Tennyson, and Swinburne have given notable poems of some length on the subject.
During the Middle Ages, and particularly in the thirteenth century, the city of Nuremberg was the seat of a famous musical guild, or training-school for poets and singers. In his "Master Singers," Wagner has followed history for his scene, characters and traditions, though he has made droll use of them. The Master Singers have left substantial proof that they really lived. There are poems still in existence, signed by Sixtus Beckmesser, Veit Pogner and others; while Hans Sachs has left whole volumes behind, and his memory is so revered that he is looked upon almost as the patron saint of his city. Longfellow says in his poem on "Nuremberg":
"Here Hans Sachs, the cobbler-poet, laureate of the
gentle craft,
Wisest of the Twelve Wise Masters in huge folios
sang and laughed!"
Wagner also obtained his idea for the contest of song from one of Hoffmann's novels entitled "Sängerkrieg." He made use of the same idea in "Tannhäuser."
Although "The Ring of the Nibelung," Wagner's grand lifework, was not presented until 1876, he had been at work upon its four parts for more than twenty-five years previously. He had published the first two parts without their musical score, in 1853. The other operas which appeared in the meanwhile were but breathing-places, so to speak, in the greater labour he had set himself to perform.
Wagner was especially fortunate in his choice of subject. The Nibelungen myth was a great national epic—one of the oldest of the Teutonic race, dating back to the prehistoric era when Wotan, Fricka, Freia, Thor, Loki, and the other gods and goddesses were worshipped in the German forests. In the course of centuries several versions of the legend appeared, some being found even in Iceland under the name of "Eddas." In Germany a long epic poem came to be written by some unknown hand. It was called the "Nibelungenlied," and it is the most famous of all early German poems.
Of course Wagner had access to all this material. But he made so many changes from it in writing his own poem as to create a new story—one which, independent of the wonderful music which he wrote to accompany it, gives him place among the foremost writers of his nation. Volumes have been written pointing out the differences between his Nibelung story and the earlier legends.
But the purpose of this little book is not to criticise, dissect, or compare. After giving these few needful names and dates, we wish merely to follow the splendid fancy of this singer of songs and teller of tales wherever in the realm of storyland it may chance to lead us.
One further word, however, of frank admission. While the spirit of the original is adhered to, and very often the exact words are quoted, it has not been deemed best to follow the argument too closely. Instead, simplicity and directness have been considered preferable to the involved plots and symbolical actions of the operas.
The book is directed primarily to the needs of young people, and is sent out to them in the hope that some time they may hear the dull booming of the Rhine about the Gold, the magic fire as it sweeps to encircle the sleeping maiden, the forest voices which greet the young and fearless hero, the chorus of the pilgrims, and the song which won the bride for a prize. All these and many other good things are held in store by the future. Meanwhile "the story's the thing," and we who will never grow too old to believe in giants, dragons and dwarfs, and the brave heroes who ride over the world doing heroic deeds, can still be thankful that Wagner lived and dreamed his dreams of the past.