The sources and text of Richard Wagner's opera "Die Meistersinger von Nürnburg"..

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3 1924 022 234 235

THE SOURCES AND TEXT

OF

RICHARD WAGNER'S OPERA

DIE lISTERSINfiER TON IRlEEe

A DISSERTATION

PRESENTED

TO THE FACULTY OF CORNELL UNIVERSITY FOR THE DEGREE
OF DOCTOR OF PHILOSOPHY

BY

ANNA MAUDE BO WEN, PH. B.

MUNICH

PUBLICATION OF DR. H. LtJNEBURG, MAXIMILIANSPL. 3.
I8q7.

Cornell University
Library

The original of tiiis book is in
tine Cornell University Library.

There are no known copyright restrictions in
the United States on the use of the text.

http://www.archive.org/details/cu31924022234235

To my mother

this essay is gratefully

dedicated.

PREFATORY NOTE.

The material for this thesis has been collected partly at Cornell
University and partly abroad, in the libraries of Munich and Leipsic.
Cordial acknowledgements are due Prof. Dr. Franz Muncker,
of the University of Munich, Prof. Dr. Karl von Bahder, of
the University of Leipsic, Prof. C. H. El son, Dicect or of ■ th e
New England Conservatory of Music, and to the firm of
B. Schott's Sons, Mayence, as well as to all members of my
exaniining committee, for suggestions and information.

Leipsic, 3 March, 1897.

ANNA MAUDE BOWEN.

INTRODUCTION.

I. MINNESONG AND MASTERSONG.

The question as to the relation of Minhesong to Mastersong
has long been sctiled, and even the dust of the unequal conflict
between Docen and Jacob Grimm has cleared away.*) We
know now that the Minnesong was the living blossom, the Master-
song the curious fossil, of the same poetic growth. The Master-
singers themselves had an indistinct perception of this fact, for
they made some of the legendary founders and first masters of
their art old and famous Minnesingers. Wagner has utilized this
connection by bringing into juxtaposition the virile and the sterile,
the spontaneous and the formal, Walther and Beckmesser, lea-
ving us to draw by inference our own poetic moral. We shall
examine more closely the development of this relation.

Grimm tells us**) that as soon as a national poetry loses
its objective character it goes over into a glaring subjectivity, a
change marked by the tendency toward lyric and artificial forms.
The ^natural, simple, national, epic'*) disappears, and from that
time on the effort of advancing culture is ever ,to unite the lost
epic with the lyric, i. e. te approach the dramatic principle . . .
the greatest triumph of complete culture and the highest poetic
element".*) Thus, after the decadence of the national epic in
Germany, Minnesong and Mastersong arose simultaneously, „the
one [term] denoting the content, the other the form".^) This

i) For Grimm's dictum see „Ueber den altdeutschen Meistergesang".
For his account of this entire controversy see same book, 13 ff.

2) „Kleinere Schriften", IV, 13.

3) Ibid. IV, 13.

4) Ibid. IV, 13.

5) Ibid. IV, 13.

- 8 -

poetry was confined to the stronger and more independent part
of the nation, that is, to the nobility, for the first two centuries
and a half of its existence (1143 — 1400), but when the nobility
declined, it passed into the hands of the ever increasingly powerful
citizen-class, there living on two centuries longer (1400—1600).

The Minnesong originated in the golden age of the Hohen-
staufens, and bears the imprint of that knightly spirit, that deep
religious fervor, and that extravagant worship of woman which
characterize this period. To the two characteristics first mentioned
we owe the third, for the crusading knight who fought to free
the Holy Land from the terrible Turk was fired by the inspiration
of the Mary-cult, the germ of his wider veneration for woman.
This admiration for woman was no new thing in Germany.
From the time when the author of the Ann ales tells us of
the Germans that they regarded their women as sanctum
aliquidetprovidum'), through the era of the N i b e 1 u n g e n -
lied and of Gudrun, she was held in constant reverence, until
Christianity, bringing with it the conception of the sinless mother
of God, effected an increase of veneration which amounted to
a cult.

Thus inspired arose the Minnesingers, that melodious choir
of poets who keep their heritage of renown even unto this day.
Their songs of spring and love, so sincere, so naive, still breathe
the odorous freshness of long-past joyance and delight. Thus
sympathetically are they characterized by D' Assailly:^)

,Les Minnesinger chantent la nature avec la candeur des
petits enfants qui s'elancent en souriant dans le bras de leur
mere. lis font leurs chefs d'oeuvre comme le moissonneur fait
sa garbe, sans y songer; et ne se retournent pas pour voir s'ils
sont suivis de cette glaneuse qu'on nomme la posterite. lis sont
voues k Dieu, k la Vierge, aux femmes, h la patrie. Une passion
jeune et tendre les anime et penetre leur parole d'une sorte de
parfum, mais cette passion est candide, et, loin de rechercher le
bruit des villes ou le faste des cours, elle est amoureuse de
solitude, de recueillement, de mystere. ... La voix du monde

i) Tacitus: „Germania", § VIII.

2) „Les Chevaliers-Poetes de rAUemagne", 12 fF.

— 9 —

effraye les Minnesinger, la marche des passants les inquiete
comme les oiseaux dans la saison des nids.') , . . lis sont simples,
ils sont vrais plus qu'on ne saurait le dire. Leur esprit se
remplit sans cesse de pensees riantes et limpides. ... La plupart
ont un style qui leur est propre, une doleur de predilection, des
tournures originales, une idee dont ils s'epreuvent aiissi bien que
de leur dame. . . . Novateurs dans un siecle turbulent, nos poetes
ont ete les premiers k sentir qu'un hymne d'amour vaut bien
un bardit de guerre. . . . Qu'on ne s'attende pas h trouver des
savants dans les Minnesinger ... la plupart ont beaucoup plus
etudie dans les champs que dans les livres.'

Add to this a sentence from Grimm:^) ,Unter andern ist
offenbar, dass nie eine Poesie frauenhafter gewesen, als diese
war, mit ihrer unermudlichen Blumenliebe, mit ihrem stillen
Glanzen", and our characterization is complete.

Minnesong was in its prime in the first quarter of the thir-
teenth century, when Walther van der Vogelweide, Hartmann
von Aue, Wolfram von Eschenbach and Gottfried von Strassburg
were all yet living. After the tragic death of the' last of the
Hohenstaufens , however, came about the gradual decay of
knightly poetry.

„Die Fiirsten ermiiden der Minnelieder nach und nach, das
Volk kann sie nicht brauchen. Die Meister klagen iiber den
Verfall des hofischen Sangs, die Loblieder auf die Fiirsten und
Herren gerathen immer haufiger, schmeichelnder und gezierter,
je schlechter sie bezahlt werden, und sie unterlassen dabei nie
zu sagen, dass ihr Lob ein wahres sey und sie das der Schlechten
verabscheuen." ^)

The end of the thirteenth century Introduced „die kaiserlose,
die schreckliche Zeit", followed by the autocratic rule of the
Habsburgs, dark ages for Germany in very truth. The nobles
became mere robber-knights, and at neither castle nor court was
there welcome for the singer.

i) D'Assailly appears purposely to omit all mention of the political
poems of the Minnesingers.

2) nUeber den altdeutschen Meistergesang", 8.

3) Ibid. 31.

— lO —

The later Minnesingers indulge in extravagant vagaries of botli
content and verse. It is a significant fact that Frauenlob, to
vi^hom the Mastersingers referred the foundation of their first
School, was one those singers who played with artificial verse-
forms to the havoc of his subject. '■)

But in the middle of the fifteenth century torpid Europe
was aroused. Through the capture of Constantinople by the
Turks and the almost simultaneous invention of printing came,
for Germany at least, the era of Humanism and the Reformation. ^)

The imperial cities had been steadily growing in importance,
and soon became the centers of all culture. Who but the honest
burghers began now to flirt with the shy Muse, as they looked
about for recreation after their day's labor? And although they
clipped the wings of their Pegasus, and trained him to amble
along in harness withal, yet they had taken him out of pound,
and they cherished him fondly until he was ready for a new
flight. From the fifteenth century on, the time of court-life and
wandering for this poetry was past.

„Denn es hatten die Fiirsten den Meistersingern alle Gunst
entzogen, und auf andere Stande konnten sie eine Einwirkung
nicht erneuern, die sie nie gehabt. Dagegen gerieth die Kunst
in den Biirgerstand allmalig herab, nicht als ob vorher keine
Burger derselben theilhaftig gewesen , sondern well jetzo eine
Me'nge aus diesem Stand sie umfassten und bliihender als je
machten , wenn man auf die Anzahl der Ausiibenden sieht.
Nirgends hatte der sinkende Meistergesang so lange gehalten,
wenn er nicht in die deutschen Stadte gelangt ware, wo die
wohlhabenden Burger es sich zur Ehre^-ersahen, dass sie die
Kunst einiger ihrer Vorfahrer nicht ausgehen liessen, und bald
war sie durch eine Menge Theilnehmer in Anspruch und Form-
lichkeit gesichert. " ^)

Many of the old Minnesingers were called Masters ; Veldeke

i) Grimm: „Ueber den altdeutschen Meistergesang", 32. — „Frauen-
lob's Werke sind uberreich wunderbar und von einer Verworrenheit, aus
der sie sich gleichsam zu ihrem eigenen Schmerz nicht zu ISsen vermogen."

2) cf. Wilsing: „Die Meistersinger von Nurnberg", 2 ff.

3) „Ueber den altdeutschen Meistergesang", 33.

1 1 —

is so called by Gottfried of Strassbiirg. At all events, with the
beginning of the thirteenth century there were rules and Masters
enough. ^) The famous War of the Wartburg was, according
to Miiller,^) only a sort of Singing-school.

The oldest Singing-school of which we have any account
was founded in Mainz by Frauenlob (Heinrich von Meissen).
Frauenlob is now celebrated, first, for his famous poetic en-
counter with Barthel Regenbogen in regard to the greater dignity
of the title Frau orWeib, in which he upheld the superiority
of the former (hence probably the name by which he is best
known), and secondly, for the quaint record of the Latin chro-
nicler^) in regard to his burial:

„Anno Domini MCCCXVII*) in vigilia Sancta Andrew se-
pultus est Henricus dictus Frauenlob, in Maguntia, in am-
bitu majoris ecclesise, juxta scholas honorifice valde : qui depor-
tatus fuit a mulieribus ab hospitio. usque ad locum sepulture, et
lamentationes et querela maximas anditse fuerunt ab eis, propter
laudes infinitas, quas imposuit omni generi feemineo in dictaminibus
suis. Tantae etiam ibi copia fuit vini fusa in sepulchrum suum,
quod circumfluebat per totum ambitum ecclesiee. Cantica
canticorum dictavit teutonice quffi vulgariter dicuntur Unser
Frauen Lied, e multa alia bona."

Well might the ladies weep and pour libations of wine into
his tomb, for he was the last of the old Minnesingers, vowed
to their service, as well as the first of the Mastersingers.

IL ORIGIN AND DEVELOPMENT OF MASTERSONG.

As regards the origin of their art, the Mastersingers had a
proud legend which Wagenseil discredits, but relates as follows.:^)

i) Grimm: „Ueber den altdeutschen Meistergesang", 30.

2) Muller: „Die Meistersinger von NUrnberg", i4.

3) Urstisius: „Germaniae historici illustres" etc., II, 108.

4) Frauenlob died 13 18. See Uhland: „Geschichte der Dichtung
und Sage", II, 293 note.

5) Wagenseil: „Buch von der Meister-Singer Holdseligen Kunst" etc.,
a supplement to his „De Civitate Noribergensi Commentatio", 503.

12

»The Mastersingers themselves have a very erroneous opinion,
namely, that their art originated first in Germany in the time of
the Emperor Otto I., and that moreover through XII gifted men,
its undoubted devisers, as well as through the divine ordinance,
since no one of them knew aught of the other. These men
were called r^) i. Heinrich Frauenlob, Doctor of the Holy Scrip-
tures at Mainz. 2. Heinrich Mogeling, Doctor of the Holy Scrip-
tures at Prague. 3. Nicolaus Klingsohr, Master of the Liberal
Arts. 4. Der starcke Poppo, otherwise also called der starke
Poppser, a glass-burner. 5. Walther von der Vogelweide, a
country gentleman. 6. Wolfgang Rohn or Rahm, a knight.^)
7. Hannss Ludwig Marner, a nobleman. 8. Barthel Regenbogen,
a smith. 9. Sigmar the Wise, otherwise called der Romer
von Zwickau.^) lo. Conrad Geiger, whom others call J age r,
of Wiirtzburg, a musician.*) 11. N. Cantzler, a fisherman.
12. Steffan StoU, otherwise known as der alte Stoll, a rope-
maker. "

The Mastersingers were evidently proud of the noble names
in this list. W age n sell says^) that the Mastersong was devised
first „by most wise and learned people, as Doctors, knights and
barons, nobles and other wise people, rich and poor'. Puschman
says also:^) .And this art is to be held as especially dear and
worthy on this account, that it is of exalted, noble origin, being
first devised by excellent noble people.' It is interesting to
note that „der starke Poppo", who is Master of the Seven
Liberal Arts in Schilter and Puschman, becomes a tradesman in
Wagenseil, a change which may perhaps show a tendency in

i) Other lists substantially the same are in Schilter: „Thesaurus Anti-
quitatum Teutonicarum", III, 88, and Puschman: „Grundtlicher Bericht des
Deudschen Meistergesangs", reprinted in „Neudrucke deutscher Litteratur-
werke des XVI. und XVII. Jahrhunderts", 4.

2) Wolfram von Eschenbach. See Schilter- III, 88.

3) Reinraar von Zweter.

4) Schilter, III, 88 gives his name as Conrad von Wurzburg, ein
Geiger am Hof.

5) „Von der Meister-Singer Holdseligen Kunst", 52i.

6) ..Griindtlicher Bericht", 4.

— 13 —

the later times to make the art more completely, even in its
origin, a possession of the Burgher-class.

W a g e n s e i 1 continues his story : ^)

„0f these they say that, because they rebuked the evil life
and conduct of the pope and clergy, they were accused at first
before Pope Leo VIII as heretics who were introducing new and
false doctrines. In consequence of this therefore the Emperor,
while in Italy, summoned the XII Mastersingers at first to Pavia,
at the earnest solicitation of the Pope, and later, when he
had gone from Italy into France, summoned them likewise to
Paris ;^) and since in both of these places, in the presence of
the Emperor, of the pope's legates, and also of many scholars
and men of rank they not only gave glorious specimens of their
gracious art, to the satisfaction of all, but also completely removed
all false presumption of their heresy, — their newly devised art
was approved and praised by both emperor and pope, as well
as endowed with privileges, and they were exhorted diligently
to persevere therein."

Wagenseil then devotes four pages to the same account
as given in a Mastersong dating from the beginning of the
sixteenth century.^) Puschman, who wrote more than a century
before Wagenseil, gives the date of the trial, Anno Christi
692.*) Grimm regards the whole story as a myth, and with
justice.^) Wagenseil notes the incongruity in dates between
the reign of Otto I and the death ofFrauenlob,") and Pusch-
man himself must have had an inkling that something was
wrong in his chronology, for he arbitrarily changes Otto I to

i) „Von der Meister-Singer Holdseligen Kunst", 503.

2) This double locality of the trial, i. e. Payia and Paris, is evidently
Wagenseil's attempt to reconcile two stories. Puschman, 4 gives Paris
as the scene of the trial, the Strassburg Tablature, as also the Mastersong
quoted by Wagenseil 5o5, Pavia. Schilter says of his account, „Nihil
antiquius obtineri potui". We have no reason for supposing that the trial
took place at Paris.

3) Uhland: „Geschichte der^ Dichtung und Sage", II, 286.

4) „Grundtlicher Bericht", 4.

5) „Ueber den altdeutschen Meistergesang", n5 ff.

6) „Von der Meister-Singer Holdseligen Kunst", Sog.

— 14 —

Otto II in his second edpon '), a correction which profits little.
To quote U h 1 a n d : ^)

, Anachronismen fehlen freilich dieser Sage nicht. Der ge-
ringste darunter ist, dass Leo VIII. im Jahr 962 noch nicht den
pSpstlichen Stuhl bestiegen hatte. Aber auch von den samt-
lichen Dichtern, deren Namen in die Zwolfzahl gesammelt sind,
fallt keiner in die Zeit Otto's I. und Leo's VIIL, und ebenso-
wenig sind sie grossenteils unter sich gleichzeitig. . . . Der alteste,
Walther von der Vogelweide, gehort dem Anfang des 13. Jahr-
hunderts, Frauenlob mit mehreren Andern dem Schlusse des-
selben und Heinrich von Miiglin dem weit vorgeriickten 14. Jahr-
hundert an."

From Otto also they claimed to have received a golden
crown % with which to adorn the victor in song, and this crown
was the central ornament of the coat-of-arms of the Master-
singers at Mainz. This city was „at once the High-school and
the place of Assembly of the Mastersingers, whither those betook
themselves, who desired to learn that art beyond all others.
There were securely preserved the privileges and prerogatives
which the societies received from time to time from the Roman
emperors, especially the golden crown of the Emperor Otto . . .
and the letter with the Mastersingers' coat-of-arms".*).

The number twelve had no doubt a mystic signification.
Metzger^) compares the twelve old Masters to the twelve
apostles, and the schools of Nuremberg and Augsburg*) had
also twelve Masters selected from their own number, as we
shall have occasion to note. There is no doubt a reference in
the number to the twelve heroes in the Rose Garden at Worms.
The garden also played an important part in the Mastersingers
symbolism. One of the tablets which was hung up to announce
meetings of the Nuremberg School had painted on it a garden

i) Grimm: „Ueber den altdeutschen Meistergesang", u8.

2) „Geschichte der Dichtung und Sage", 286 f.

3) Schilter, III, 88; Wagenseil, 492; Puschman, 4.

4) Wagenseil, 5i5.

5) Grimm: „Ueber den altdeutschen Meistergesang", 120, note.

6) Uhland: „Geschichte der Dichtung und .Sage", II, 288.

— 16 —

in which were several persons wandering about. Above it was
the verse : *)

„Zwolff Alte Manner vor viel Jahren,

Thaten den Garten wohl bewahren,

Vor wilden Thieren, Schwein, und Beeren

Die wolten ihn verwiisten gem;

Die lebten, als man zehlt verwahr,

Neunhundert und 62 Jahr."
W a g e n s e i 1 goes on to explain : ^)

„That the garden was brought to mind, comes about
probably on account of the Rose-Garden at Worms, so highly
renowned in ancient times , wherein the bravest and strongest
heroes of the world were wont to contend and to let their
prowess be seen. . . . Just as if, as the heroes had striven for
precedence with undismayed courage and with all the might of
their bodies, so the Mastersingers strove also for the honor of
their intellect and of their skill in the art of song."

Hans Sachs, in his „Schulkunst",*) compares Mastersong to
a garden also, and Puschman quotes a Mastersong which
makes use of the same figure.*)

So much for the rise of the Mastersong! From Mainz it
spread throughout the cities of soutliern Germany, flourishing
especially at Nuremberg and Strasburg.'^) „Im vierzehnten Jahr-
hundert bliiht er zu Mainz, Strassburg, Colmar, Frankfurt,
Wirtzburg, Zwickau, Prag. Im funfzehnten zu Niirnberg, Augs-
burg. Im sechszehnten zu Regensburg, Ulm, Munchen, Steier-
mark, Mahren (Iglau), Breslau, Gorliz bis nach Danzig. Im
siebenzehnten zu Memmingen, Basel, Diinkelspiel. " ^) The Augs-

i) Wagenseil, 54i.

2) Ibid. 54i.

3) Sachs: „Dichtungen", in „Deutsche Dichter des sechszehnten Jahr-
hunderts", 10, 102 fF. Ranisch, 259 thinks that this reference to a garden
quoted in Wagenseil may go back also to this same song by Sachs.

4) „GrundtIicher Bericht", 46 f.

5) Wagenseil, 5i5.

6) Grimm: „Ueber den altdeutschen Meistergesang", 129.

— i6 -

burg School was regularly established in 1450,') that at Stras-
burg about 1492.^) Mastersong was most prosperous in the
middle of the fifteenth century. At the end of the sixteenth
century it began to decline. As everything else in Germany, it
suffered severely from the Thirty Years' War, and from that
time led only a precarious existence into our own century. In
1839 the School at Ulm dissolved, giving its insignia to the Ulm
,Liederkranz", but it was not until 1844 that Mastersong ceased
to exist in Germany, by the formal dissolution of the Memmingen
School.^)

III. THE HISTORICAL VALUE OF THE MASTERSINGERS' ART.

In his seventh chapter*) Wagenseil treats of the advan-
tages and uses of the Mastersingers' art, somewhat as follows.

In the first place, since the Mastersingers took their subjects
largely from the Bible, it served to make that book more familiar.
It conduced to the safety of the state, since it united the citizens,
and established peace and quiet. It prevented the jealousy which
often existed between different trades-guilds , for its members
were taken from all these guilds. It also took the place of more
questionable amusements, and reduced the evils of idleness.
Hear Wagenseil again: ^)

„But no one celebrates fewer holidays than the good Master-
singers, for when they have worked hard and fast the whole
day to win their bread, and now the eve of rest has come, while
other tradesmen go into beer-houses or elsewhere together, these
men sit down, compose new poems, repeat the old Tunes, write
great books of songs, or instruct their apprentices, that the art
may not perish. It is really a matter to wonder at, that the
dear folks take upon themselves such great pains and labor,
without the slighest advantage from it; for all that they do is

j) Mey: „Der Meistergesang in Geschichte und Kunst," 6.

2) Schilter, III, 89.

3) No new „Tune" had, however, been invented since 1788. See Mey, i4.

4) Wagenseil, SSg ff.

5) Ibid. 5^0 ff.

— 17 —

merely out of love toward the German Fatherland, and toward
that gracious old Art, in order that it may be handed down to
their posterity as they received it from their ancestors. Else-
where the saying „Marcet sine praemio Virtus, et nemo
gratis bonus est* is valid, but here no reward can be
expected. . . .

I am completely of the opinion that the Mastersingers Guild-
makes for the great renown and honor, first, of the few Imperial
cities in which this art is now practiced, and then also of all
Germany; since no nation anywhere in the world except ourselves
can show so old a true poetic association, never interrupted in
several thousand (sic !) years, but at all times flourishing with
the favor and privileges ' accorded it by the government , and
with its own rules and regulations. "

We may quote also a view which ' has the advantage of
greater historical perspective, and is still just and appreciative :

,Ich will hier nicht den Unsinn der vielen Dichtergesell-
schaften herbeiziehen und strafen, aber die MeistersSnger damit
entschuldigen , dass , nachdem schon alle ihre Kegel aus den
wahren Schranken getreten war, die blosse Formlichkeit auf die
Reinheit ihrer Sitten gewirkt hat und ein Band gestiftet hat,
werther denn ihre Kunst war. Der Meistergesang zeigt sich
weithin als ein Mittel mehr, welches, auf den Bund der Burger
wohlthatig gewirkt hat. . . . Man ist leicht damit fertig gewesen,
die Geschmacklosigkeit und Trocketiheit der spateren Meister-
sUnger zu tadeln, hat aber dabei die Ehrlichkeit und Selbstver-
kennung ganz iibersehen, womit sie ihre fromme Kunst iibten. " ')

i) Grimm: „Ueber den altdeutschen Meistergesang", ii.

Bo wen, Wagner's Meisterslnger,

CHAPTER I.

THE SOURCE FOR THE TECHNICAL DETAILS
IN THE „MASTERSINGERS«'.

I. GENERAL CUSTOMS AND USAGES OF THE MASTERSINGERS
IN THE SCHOOL AND AT THE REVEL.

The most detailed account of the observances of the Master-
singers in their public functions is to be found inWagenseil's
sixth chapter, *) a source closely followed by Wagner.

„In Nuremberg the Mastersingers are permitted to hold their
Singing-schools on the afternoon of Sunday and of holidays as
often as they like. . . . And for this purpose has been thrown
open from the earliest times the so-called Church of St. Catharine,
perhaps because the same holy virgin and martyr was held to
be a patron of the liberal arts et omnis elegantioris liters
in the Roman church, according to the manner in which Minerva
was esteemed by the pagans."

Wagner, following this account, represents the School as
having been held in this church. This is an anachronism for
the time in which the „ Mastersingers " is supposed to play, i. e.
the middle of the sixteenth century, for it was not until the
seventeenth century that the place ot meeting was changed from
the Church of St. Martha to that of St. Catharine.^)

i) Wagenseil, 54o ff. All quotations not otherwise accredited are
to be referred to this chapter passim.

2) See Ranis ch: „Lebensbeschreibung Hanns Sachsen", 27 note, who
^ives a song written by one Wolf Bautner in 1620 which confirms this statement:
„Weil wir nun gar ein lange Zeit
Sind bey Sanct Marte gwesen,

— 19 —

„ Several days before a Singing-school is to he held, the
Markers or Directors of the Mastersingers Guild give notice of
it, and such notice is given by the youngest Master, who shall
go to the house of each Guildsman, nor shall he claim for this
any recompense."

Compare Wagner (VII, i68):')

,Zu einer Freiung und Zunftberathung
ging an die Meister ein' Einladung.*

Further:

, Every member of the guild who is summoned to the
Singing-school is bound to appear, or if he cannot come, to have
himself excused by a substitute."

Compare Wagner (VII, i6g). In the roll-call, when Kothner
comes to the name of Niklaus Vogel, who is absent, he is
excused by his apprentice.

„In the midst of the church of St. Catharine, at the beginning
of the choir, a low platform is erected, on which is set a table
with a great black desk, and around the table are set benches,
and this platform, which is called the Marker's Seat (Gemerke)
hat curtains drawn around it, so that one cannot see from
without what goes on within. A cathedra, in the form of a
pulpit, in which he who is about to sing a Mastersong seats
himself, remains always unchanged in its place, not far from the
large pulpit in which the sermons are preached."

To this account correspond closely the stage-directions for
this scene in Wagner (VII, 165).

,When the day appointed for the Singing-school has arrived,
the advertisement of it is given by four or five tablets publicly
hung up in the city, of which three are attached to the different

Und man dieselb Kirch gmeiner Stadt

Zu besserm Nutz that wenden,

So hat ein hohe Obrigkeit

Uns die Kirch erlesen

St. Catharina an dem Ort, '

Unser Gesang zu voUenden."
i) These references in parenthesis are to Wagner: „Gesammelte
Schriften und Dichtungen", 2nd ed., and are inserted in the text in order
to facilitate reference.

— 20 —

Stories of the great Market, the fourth however to the outer
door') through which one enters the church of St. Catharine."
The first tablet had on it a picture of the Rosegarden, the
second .King David, depicted as playing on a harp as be kneels
before the Lord Christ hanging on the cross" (a naive anachro-
nism!), the third the birth of Christ, the fourth the likeness of
.honest Hans Sachs". To each tablet wag added a printed bill
of the following purport :

,In the Singing-school of today several

Lovers of the Art propose to the Mastersingers several prizes

for Singing..
Therefore shall be sung first in the Open
Singing true and demonstf able Histories, edifying for > Christen-
dom.
The limit shall be from . . . to . . . 1 _.
For. the competition ") from ... to ... /

on the Principal Singing, no song shall be passed, unless it
is in accordance with Holy Writ, i. e. from the Old and
New Testament.
The limit shall be ffom . . . to . .
For the competition from ... to
Let him who wishes to hear betake himself after mid-day
service to St. Catharine's, where it will begin.
Sometimes the poster reads thus:

, Since by the favor of the Most Noble, Considerate and
Wise Council of this city it is allowed and granted to the
Mastersingers to call a public .Christian Singihg-school, and to
hold it to the praise, honor and glory of God Almighty as also
for the dissemination of his holy Divine Word, on this account
in the aforesaid school shall be sung nothing except what is in
accordance with holy Divine Writ; also it is forbidden to sing
all abusive and irritating songs, (Straffer jind Reitzer) from
which all discord springs, as well as all obscene songs. But he

\ Rimes.

i) The church of St. Catharine, once, part of a monastery, is situated in
a court, which is entered by a large gate. It, is probably this court-gate,
wliich opens on Jhe, street, that is here meant. ,. ,

2) Das Gleichen, — This was the competitive singing for the prizes^

— 21 —

who with true art does the best shall be honored with the
David or School-jewel , and the ' one second to him with A fair
wreath."

The gathering of the audience in the church of St.jCatharine
occurs after the mid-day service, or an hour before vespers,
according to the Nuremberg reckoning, that is at one o'clock."*)

This fact gives Wagner a chance for the striking opening
of his drama. The church-service is just ending, and we hear
one stanza of what might be an old German hymn just as the
curtain risfes.

When a goodly number of people were present the Open
Singing began ^ in which all , even strangers, might participate.
In this exercise the subject might be ,a true and honorable
secular event" as well as something from the Bible. But in the
Open Singing there was no marking, so that, beyond fame, one
could win nothing, sing as one might.

„ He who now wishes to sing, seats himself with fine courtesy
in the singer's seat, takes off his hat or cap, and after he has
paused for a while begins to sing and continues to the end."
It will be seen from this that Walther commits a grave offense
by rising from his seat in the excitement of his song (VII, 183);")

After the Open Singing came the Principal Singing (H a u p t -
Singen) in which might be sung only songs whose subjects came
from the Bible. The singer was required to cite at the beginning
of his song the book and chapter from which the subject was
taken.

,When, in the Principal Singing, the singer has mounted
the singing-seat and rested a while the chief Marker cries:
Begin! Then the singer makes a beginning, and when a stanza
or refrain is complete he stops until the Marker cries again:
Go on ! After the song is ended the singer betakes himself from
his seat and gives place to another."

i) Time was ordinarily reckoned in Nuremberg according to the Italian
or old Roman method.

■ 2) See „Strassburger Studien", III, 206. There is a specific name for
this, i. e. Stuelsprungl, in the Ulm Register.

— 22 —

These two expressions are the ,Fanget an!"') and ,Fahret
fort!"^) which occur so often in Wagner.

The Markers, the most eminent men in the guild, criticized
the songs. There were four of them, according to Wagen-
seil.^) The oldest, with Luther's version of the Bible before
him, noticed whether the song agreed with the scriptural version,
as well as whether it was couched in Luther's vocabulary. The
second noticed the text, and marked down with chalk on the
desk the errors against the Tablature. The third wrote down
the riming words, and noted any errors in rime or in the verse-
scheme, and the fourth criticized the melody.

„ During the Singing the remaining Guildmembers must
refrain from speaking or noise, that the singers may not become
confused", says Wagenseil, an injunction not observed by
the Masters as Walther proceeds with his trial-song (VII, 187 flf.).
If there was a tie in the singing, those who had sung equally
well were obliged to continue until one had sung entirely without
mistakes (glatt gesungen) or at all events with fewer than
the other.

There were two prizes, which were not, however, given
outright, but only to be worn during the assembly and the
following Revel. The first was a silver chaiti, hung with all
sorts of medallions which had been presented to the society,
the second a wreath of silk flowers. The chain was itself too
cumbersome to wear, so a lighter one, hung with three silver and
gilded medallions, was provided for the winner. This ornament
received the name of the King David, for on the central medallion
was a picture of King David playing on the harp, „and this Hans
Sachs bequeathed to the company".*) The winner of the King
David was privileged to sit at the next meeting with the Markers,

:) Wagner, VII, iSg, 182, 218, 219, 263.

2) Ibid. VII, 220, 221, 267, 268.

3) Puschman, 30 gives three as the number. No Tablature gives
less than two, and three seems to have been the usual number.

4) Wagenseil, 545. Wagenseil tells us with honest pride that he
himself replaced this, since it had grown old, by a silver chain and a gilded
medallion.

- 23 —

and remind them of their oversights, while the winner of the
wreath stood at the door at the time of the next meeting and
received the money.

Wagner deviates from this account in the disposal of the
prizes. He makes the wreath the first prize, by virtue of which
Walther wins Eva for his bride.

The apprentices announce this in the first act (VII, 165):

„Das Blumeni^ranzlein aus Seiden fein,

wird das dem Herrn Ritter beschieden sein?"
In the last act, after Walther's song is succesfuUy finished,
Eva places on his brow a wreath" twined of laurel and myrtle"
(VII, 269), (evidently Wagner thought this more auspicious than
a silken wreath for the happy occasion); and the King David,
a golden chain (not silver as in Wagenseil), with three me-
dallions, is given him only to signify his elevation to the dignity
of Mastersinger. Now in Wagenseil the King David is the
first prize, the wreath the second, but what matters this when
the artist's purposes are better served by a reversal of order?

The text of a song in one melody was open for a prize
only once a year ; but if the same text were adapted to a different
melody it might be sung and rewarded several times. Two songs
with the same melody were not to be sung the one immediately
after the other. The Markers are adjured to mark truly and
diligently, according to the intention of the art, and not according
to bias . . . „not otherwise than as if one were sworn to it,
although in truth one neither can nor ought to swear" : ^) In case
some relative of a Marker was to sing, the latter was required
to resign his office for the time being to some unprejudiced
person. Compare with this Sachs' utterance in the first act
(VII, 1 86):

„Der Merker werde so bestellt,

dass weder Hass noch Lieben

das Urtheil triiben, das er fallt"
It rested with the judgment of the Marker whether the singer's errors

i) Wagenseil, 545 f. This, as other passages, is taken directly frOm
Puschman.

— 24 —

should be told him at once, or after the school in private, .that
others may not scoif at him*.') ii i

As to how the uninitiated learned Mastersong and were taken
into the Guild, we learn the following:

,If a person has desire and love for the Mastersingers art,
he betakes himself to any Master in whonrt he has confidence
and who has worn the jewel at least once, and begs him to
assist him with good instruction. He who is thus besought will
do so gladly, and undertakes the great labor which the teaching
of such very difficult tunes entails entirely gratis, merely from
a desire to further the art for posterity. On which account the
Masters themselves seek for pupils, and for this cut short their
rest and slep : since they must employ their day in the exercise
of their trade and in the winning of food."

When an apprentice had learned the rules and a number
of Melodies , including the four crowned Melodies, ^) he was
presented to the masters in the Revel (usually on St. Thomas'
Day) for their acceptance. The Marker examined the candidate,
asking whether he was of honorable birth, of a frivolous or quiet
character, whether he visited the Singing-school regularly. He
was further tested as to whether be had sufficient knowledge of
the art, and knew what a vowel or consonant was, whether he
knew the qualities of rimes, what were masculine and what femine,
whether he knew a sufficient number of tunes, especially the
four crowned tunes, and in case of necessity could mark a song.
Compare Wagner (VII^ i6o):

,hab' ich das Leder glatt geschlagen,

lern' ich Vocal und Consonanz sagen;

wichst' ich den Draht gar fein und steif,

was sich da reimt, ich wohl begreif ;

i) Hans Sachs suggests the following day as an appropriate time. See
Genee, 4i2. „Item die mercker sint schuldig almal den nechsten tag nach
der Singschpel seinen iden Singer der ait ze gleichen ist kumen, seinen fel
so ers pegert an ze zaigen."

2) These were the Long Measures or Tunes of Heinrich Miigling,
Heinrich Frauenlob , Ludwig Marner and Bartel Regenbogen respectively.
Wagenseil, 354 ff.

— 25 —

den Pfriemen schwingend,
im Stich die Ahl',
was stumpf, was klingend" . . .
He was then given an opportunity to sing a Mastersong, and
if- be erred to the extent of more than seven mistakes, he could
not be taken in. This is a condition twice repeated by Wagner
(VII, 165, 181):

„Sieben Fehler giebt er euch vor,

die merkt er mit Kreide dort an,
wer iiber sieben Fehler verlor,
hat versungen und ganz verthan!"
After this the Commendator and Candidatus retired, and
the oldest Marker enquired whether the canditate were agreeable
to the company, and sufficiently skilled. If the answer was
favorable the candidate must pledge himself:

I. To remain faithful to the art of song.

II. To defend the art and the Guild whenever he heard
them attacked.

III. To live peaceably with his brother-members of ■ the
GuHd, and to assist them where it was in his power, both in
their bodily wants and in their reputations.

IV. To sing no Mastersong in the open streets by' day or
by night, nor at carouses or in unseemly places. Yet to a
stranger inspired by a worthy desire to hear a Mastersong he
should not refuse to sing one.

The older custom was then to baptize the novice with water,
and by this ceremony the Apprentice (Lehrling) became a
Singer. V\^hen the Singer became sufficiently skilled he was
permitted to take part in the Open Singing, and was there
announced as free (freigesprochen) and declared a Master.
This is Wagner's , losgesprochen " (VII, 1 56) :
,der Lehrling wird da losgesprochen,
der nichts wider die Tabulatur verbrochen;
Meister wird, wen die Prob' nicht reu't." '

A Nuremberg Mastersinger, M. Ambrosius Metzger, gives a poetic
account of the whole ceremony in the melodies of various
Masters, a song which was in high repute inWagenseil's day.

— 26 —

No doubt the name of Apprentice, as well as many of the
ceremonies of his reception as a Master, were borrowed from
the usages of the trades-guilds..

After the Singing-school an „ honorable, decorous and peace-
ful revel" was held in a neighboring tavern. All weapons were
to be laid aside, play, useless conversation, superabundant
drinking, were forbidden. A wreath was offered, for which anyone
might sing. Irritating songs were forbidden, as provoking discord,
and no one might challenge another to sing for money. No one
might sit at table with the Markers unless expressly invited.
The winner of the wreath in the Singing-school waited on the
revel, and, if he needed aid, the winner of the wreath the previous
time assisted. The wreath-winner and the Markers received a
slight compensation for their services. The revel was paid for
from the common funds of the guild.

Finally, a deceased Mastersinger was to be accompanied to
the grave by all the members of the guild, and when a Marker
died, a song was to be sung by them all in his honor at the
grave.

II. THE TABLATURE.

The rules of the Mastersingers' School were drawn up in
the so-called Tablature, a code defining the errors which might
be committed, and prescribing the punishment for each. The
oldest Tablature preserved is that of the Nuremberg School, of
the year 1540. The one followed by Wagner is again that
contained in Wagenseil, who here follows Puschman
closely, but in a different order. First come a few general
definitions.')

A Bar is, accordig to Wagenseil, a complete poem, not
as Wagner uses it (VII, 240), a single stanza. Each Bar has its
regular rime-and verse-structure, ordained and preserved by the
lips of the Master. „This all the Singers, Poets and Markers
should know how to measure and count off on their fingers".

i) Wagenseil, 521 ff. All technical words used by Wagner which
are taken from this chapter of Wagenseil will be designated by being
printed in capitals.

— 37

says our authority. A Bar is composed of several Stanzas
(Gesatze).

A Stanza is composed of Strophe and Antistrophe (Stollen),
which are identical in metrical and melodic structure, and a
Refrain (Abgesang) of different organization.') The Refrain is
some times followed by another strophe.

How exactly Wagner has turned the very language of
Wagenseil into his verse may be seen from the following
passages from each : ^)

Wagenseil :

,Ein jedes Meister-Gesangs Bar
hat sein ordentlich Gemas, in
Reimen und Silben . . .

Ein Bar hat mehrentheils unter-
schiedliche Gesatz oder Stuck,
als viel deren der Tichter
tichten mag.

Ein Gesatz bestehet meisten-
theils aus zweyen Stollen, die
gleiche Melodey haben.

Ein Stoll bestehet aus etlichen
Versen . . .

Darauf folgt das Abgesang so
auch etliche Vers begreifft,
welches aber eine besondere
und andere Melodey hat als
die Stollen."

Wagner:
„Ein jedes Meistergesanges Bar
stell' ordentlich ein Gemasse dar

aus unterschiedlichen Gesetzen, <
die Keiner, soil verletzen.

Ein Gesetz bestehet aus zweenen

Stollen,
die gleiche Melodei haben soUen,
der Stoll' aus etlicher Vers'

Geband',
der Vers hat seinen Reim am~

End'.
Darauf so folgt der Abgesang,
der sei auch etlich' Verse lang,
undhab' sein' besondere Melodei,
als nicht im Stollen zu finden

sei."

Then follow six classes of rime, given byPuschman also.''')

i) The Mastersingers compared their verses with an architectural struc-
ture. The Stollen are the two upright beams and the Abgesang is the
cross-beam laid upon them. The same structure existed in Minnesong, and
is the fundamental principle of the sonnet and the sonata. See Walt her
von der Vogelweide, herausg. v. Pfeiffer, 5.

2) cf „Nord und Sud", LXXII, 238. Wagenseil, Hi f. Wagner,
Vn, 24 1 f.

3) Puschman, 7.

— 28 -

I. Masculine rimes are called Dull Rimes (Stumpfe Reime),
II. feminine are called Resonant Rimes (Klingrende Reime).
Compare Wagner (VII, i6o) „was stumpf, was klingend".

III. Orphans (Waisen, VII, i6i) are end-words' of a verse
which rime with ilothing else, either in their own or in a follow-
ing verse. They may occur in the middle of a verse, or, as
is more usual, at the end.

IV Germ-rimes (Korner), are words riming with nothiftg
else in their own stanza, but which have a rime corresponding
to them in each following stanza.

V Pauses (Pausen) are monosyllables at the beginning, end,
or sometimes middle of a stanza, which stand alone as an entire
verse, riming however with one another. Compare Wagner
(VII, i6r):

„was Pausen, was Korner."

VI Beat-rimes (Sehlagr-Reime, VII, 164), are verses con-
sisting of one trochaic or iambic foot.

No single verse may have more than thirteen syllables, since
one cannot sing more in a single breath, especially if there are
any runs or flourishes.^). Compare Wagner (VII, 162):

,mit depi Athem spart, dass er nicht knappt,

und gar am End' ihr iiberschnappt."
■"' ■ Following this category is a list of thirty-three mistakes with
their penalties. The mistakes were counted by syllables, and
each singer was permitted to make seven before be had outsung
himself (Versungen, VII, 162). Puschman enumerates thirty-
two errors, and divides them into two classes, i. the mistakes
which must always be marked, and 2. those which are to be
marked only when the superiority of one singer cannot be decided
by the ordinary marking.^) There are twenty-three mistakes in
his first category, and eleven in his second. W a g e n s e i 1 makes
no such distinction, ; and his order is this.^) ^-

i) cf. Puschman, g.

2) Ibid. 10 if. This was called marking rigorously (i,in die Scharfe".)

3) The Roman numerals in parenthesis give Puschman 's numbering
for his first category, the Arabic that for his- second.

— 20 —

(I) I. A Fault against the noble German Language. — The
language of Luther's Bible ^) and of the Chanceries was the norm,
and the only deviatioii allowed from this was in the case of
strangers, 'who might use their own dialect, provided they did
so consistently. For instance a Nuremberger might sing : , Er
ist ein frommer Mon" to go with „Er ist auf rechter Bon", but
not to go with ,Und er ging davon;"

(II) II. False Opinions are „ all false, superstitious, visionary,
unchristian and unseemly doctrines, stories, anecdotes and shameless
and wanton words, which run counter to the pure, blessed
doctrine of Jesus Christ, to good life, good morals, good conduct,
and integrity.^) Anyone guilty of this fault was outsung, and
might even be expelled from the school

(III) III. Bad Latin is all Latin sung contraGrammaticas
leges incongrue. Mastersingers who have not studied this
language are to have their Latin corrected by a Latin scholar.
This fault included mistakes in quantity, and was marked syllable
for syllable.

(IV) IV. A Blind Meaning (Blinde Meinung-, VII, 184) is
an incomplete or unclear expression, as, „Ich, du sol kommen"
for „Ich und du sol kommen." This is also marked syllable
for syllable.

(V) V. A Blind Word is a word which is not clear or
easily unterstood, as „Sag" for ^Sach", a tenuis for an aspirate.
A blind word takes off two syllables. This is probably wtiat
Beckmesser means when be accuses Walther of , unklare Wort' "
(VII, 188).

(VI) VI. A Half- Word is the shortening of a word by one
syllable, apocope, as: ,Ich kan es dir nit sag" for „sagen". The
forfeit was two syllables.

(VII) VII. An Offense (Laster, VII, 187) is the change of
a vowel in a word for the sake of the rime, as ,Sohn: Mon."

i) This statement occurs only in Puschman and Wagenseil. It
was hardly a universal regulation of the schools, and certainly not until a
late period. See Pietsch: „Martin Luther und- die hochdeutsche Schrift-
sprache", 89 ff.

2) Wagenseil, 525.

, — 3° —

The forfeit for this was two syllables. ,Laster" is an ambiguous
expression, denoting different errors in different schools. Some-
times it ~was applied to verses two or more of which began
with the same word or words. Still others considered it a
„Laster" to have assonant words follow each other. It is clearly
a translation of the Latin vitium, taken from the schools. i)

(i) VIII. An Addition (Anhang) is the making of a mono-
syllable dissyllabic on account of the exigencies of the rime, as
,Es ist ein frommer Mane" for „Mann". This was punished by
half a syllable. Puschman^) glosses it by its technical name,
Paragoge, and makes the forfeit one syllable.

(6) IX. A Contracted Syllable (Klebsilbe, VII, i61) is, as
its name implies, the contraction of two syllables into one, as
„keim" for „keinem". The forfeit was half a syllable. Pusch-
man gives it as one syllable.^)

(8) X. A Relative (Relativum) is a word governing two
clauses. The example cited is „Was nit recht gesungen wird
gestrafft" for ,Was nit recht gesungen wird, wird gestrafft".
This is noted only if one desires to be hypercritical in song.

(4) XI. A Difference (Differenz, VII, i88) is the reversal
of the vowels of a diphthong, as „Deib" for ^Dieb*. Pusch-
man however regards this as a venial error*) and the marking
of it as hair-splitting („klugeln"). This was punished by three
syllables. Others regarded a Difference as the unnecessary repe-
tition of a word, as ,Der Herr der sprach".

(9) XII. Adjacent words (AnriihrendeWorter) is the
beginning of one verse with the word which ends the prece-
ding, as :

„Wer Hader macht

Macht sich veracht.'
Wagenseil, as well as Puschman, relegates this into the
category of mistakes which were not usually marked.

i) See „Strassburger Studien", III, 2o4 f.

2) Puschman, 17, 11.

3) Ibid. 12.

4) Ibid. 19.

— 31 —

XIII. An Unrhetorical (Unredbar, VII, 187) Phrase is one
in which the order of words is different from that in spoken
language. In estimating errors it was counted as one syllable.
The example is :

,Der Vater mein

1st fromm und fein

Die Mutter gut

Mir giitlich thut."
I am inclined to think that this article was put in under the in-
fluence of Opitz' „Buch von der Deutsehen Poeterey", Wagen-
seil had great regard for him, calling him ,der mit einem un-
verwelcklichen Lorbeerkranz Gekronte Martin Opitz'.*) This
article is not in Puschman, nor in the Nuremberg or Colmar
Tablatures. It is interesting to notice that, in spite of the dictum
of Opitz,') the Middle High German construction, common in
the Folksong, has gained the day, and is no longer „ unrhetorical".

(VIII) XIV. Equivocal W^ordS (Aequivoea, VII, 188) are
words spelled alike, but with different meanings, as „Stecken"
a staff, and „stecken", to be fast. This fault forfeits four
syllables.

(IX) XV. A Half-Equivocum (Halb- Aequivocum) is the
partial coincidence of a feminine and masculine rime, as for
example :

„Sie geben, was sie haben,
Ich auch das, was ich hab" u. s. w.
Thir error forfeits two syllables.

XVI. Accumulated Equivoca (Ueberhoff^) Aequivoea)
is the repetition of two or more rimes of one strophe in another
part of the same song. The forfeit for this is three syllables.

(X) XVII. A False Scheme (Falseh Geband, VII, 187) is
a variation in versification from the scheme of the original
Mastersong. The forfeit is two syllables.

i) Opitz: „Buch von der Deutsehen Poeterey", reprint in „Neudrucke
deutscher Litteraturwerke des XVI und XVII Jahrhunderts", 30.

2) „UeberhofF" = „uberhauft". It occurs in the form „uberhauf" in
Behaim. See „Germania", III, 310.

_ 32 —

(XII) XVII. Isolated Rime (Blosse Reime) are verses
left unrimed which ought to be rimed according to the scheme
of versification. The forfeit is four syllables.

(XIII) XIX. Hesitation (Stutzen oderZucken) is a pause
at the wrong place, caused by carelessness or.forgetfultless. As
many syllables are forfeited as might be pronounced in the
duration of the pause.

(XIV) XX. Mites (Milben, VII, i6i) are words apocopated
for the sake of the rime, as : m !

„Von diesem Dinge

Will ich jetzo singe."
The forfeit is one syllable.')

(XIII), XXI. Two Verses in one Breath (Zween Reimen oder
Verss in einem Athem) explains itself. The end of each verse wats
marked by a pause and a new breath, hence he who failed to
pause shortened the stanza by one verse. The forfeit was four
syllable?. This is Wagner's ,falscher Athem" (VII, i88).

(XV) XXII. Too Short and too Long (Zu Kurtz und zu
Langr, VII, i6i) was the mistake of putting less or more syllables
in a verse than its master had done. The forfeit was as many
syllables as there were in the error made.

(XVI) XXIII. Repetition (Hinter sich und fur slch
litterally „back or forward") is i. going back to repeat some-
thing that has been left out, 2. the repetition of what has been
already sung, in order to be think onesself of the following
verse, 3. the repetition, of one or more words already sung,
through carelessness. This error forfeits syllable for syllable.

(XVII) XXIV. Soft and Hard (Lind und Harty VII, 160) is
the riming of two words; of which one ends in a voiced, the
other in an unvoiced consonant, or the one in a double, the other
in a single consonant; for example. Laden: Thaten, Gott:
Tod. This error forfeited syllable for syllable. 1

(XVIII) XXV. Too High or too Low (Zu Hoeh und zu
Niedrig:, VII, 162) is pitching a tune so high or so low that the

i) ,, Milben" refers to a slight error, which is to be compand in its in-
significance to a mite. cf. „Strassburger Studien", IJI, 217 and Mey, 39.

- 33 —

singer cannot complete it in the same key. This error forfeits
six syllables (in Puschman only one!') This is Wagner's „zu
hoch, zu tief".

(XIX) XXVI. Singing and Speaking (S i n g e n u n d R e d e n).
This error was committed when the singer interrupted his song
by speaking without being spoken to, and the forfeit was as
many syllables as were in the interpolated speech.

(XX) XXVII. Change of Melody (Veranderung- der Thon)
might be a change from stanza to stanza, or a change within
the stanza from the number of verses in the original form. For
every verse changed the forfeit was four syllables. This is
perhaps David's „Verwechseltet ihr" (VII, 162).

(XXI) XXVIII. False Melody (Falsehe Melodey) is an ab-
solute change of the entire measure. One who commits such
an error is entirely outsung. Puschman, however, gives as
the forfeit for this only two syllables. Compare Wagner's ,ver-
kehrt, verstellt der ganze Bar" (VII, 188).

XXIX. [Here by oversight W a g e n s e i 1 repeats essentially
No. XVII.]

(XXII) XXX. False Flourishes or Coloratures (Falsehe
Blumen oder Coloratur) are runs and ornamental notes put in
by the singer which do not occur in the original song. These,
if short, forfeit one syllable, if long, two. Compare for this
Wagner (VII, 162):

„nicht andert an „Blum" und .Coloratur",
jed' Zierath fest nach des Meisters Spur."

(XXIII) XXXI. A Change of Song (Ausweehsslung- der
Lieder) is the singing of a different number of stanzas than was
in the original song. This forfeits as many syllables as there
were in the stanzas added or omitted.^) Compare for this
Wagner (VII, 162), ,verwechselt ihr".

XXXII. Resonance before or after (Vof- und Naeh-Klang).
This was humming with closed lips before or after a song, either

i) How rudimentary was the knowledge of music among these worthies,
when such rules were necessary!

2) Since only seven syllables were allowed to go forfeit, anyone who
erred in this point must be entirely outsung.

B w e n , Wagner's Meistersinger. 3

— 34 —

of which errors forfeited one syllable. This is also incorporated
in David's instructions to the young knight (VII, 162):

,Vor dem Wort mit der Stimme ja nicht sumtnl,
Nach dem Wort mit dem Mund ja nicht brummt."

(XXIV) XXXIII. Becoming Confused (Irren Oder Irr Wer-
den, VII, 162) is erring in text, melody, rime, or any or all
parts of a stanza. He who commits this fault is quite outsung,
,for it is to be noted that all Mastersongs are to be sung out
of one's head, and never out of a book".')

Following this formal category of rules are some general
remarks about the melodies or tunes.^)

, Every Mastersinger shall be zealous to sing plain good
German slowly and modestly, and to every verse must be given
its appropiate pause, and two or three verses must not be shouted
out in one breath . . .

It is called singing smoothly (glatt sing en) when nothing
can be criticized in the singing."

No Master-tune might infringe on another to the extent of
more than four syllables; both melody and coloratures must be
entirely new. Thus we read in Wagner (VII, 181):
„wer ein neues Lied gericht',
das iiber vier der Silben nicht
eingreift in and'rer Meister Weis',
dess' Lied erwerb' sich Meister-Preis. °
The new Tune was ordinarily sung by the Master himself three
times before the entire School, first, as low as possible, then in
the ordinary pitch in which it would be sung in the school, and
finally pitched as high as possible. If the Mastersinger himself
were too old to sing it, another might sing it for him, provided
he sat by and vouched for it as his own. If the Tune were
approved it was given ,an honorable and not a contemptuous
name", and had two god-fathers chosen, a ceremony taken from
the trades-guilds. This ceremony Wagner introduces in a modified
form in the third act (VII, 254 ff.), where Hans Sachs christens

i) Wagenseil, 531.
2) Ibid. 532.

- 35 —

Walther's Morningdream-measure. After this the inventor of
the tune was to compose three stanzas to it on a subject assigned
by the Markers, and the tune was then written down in the
Mastersingers' book, with the name of the composer. Singers
in places where there were no Schools might sing their tunes
and have them recorded in cities where Schools existed.

Since none of the twelve old Masters made stanzas with
less than seven verses, no tune with stanzas of lesser length were
admitted — ,yet the Short Measure of Heinrich Miigling is said
to have only five verses".*) The maximum limit Wagenseil
puts at one hundred verses, not that longer stanzas were not
allowed, but that in marking they had no preference over shorter
ones. Among the older Masters they had not been so long as
in later times, he tells us. The four crowned Tunes had the
preference, and one was permitted an extra syllable for forfeit
in each stanza, ,for the sake of the twelve old Masters, through
whom the art first came to light ".^)

At stated times the Tablature was read before the Revel,
and obscure points were explained by the Markers.

Finally we have a definition of the different ranks of the
society. He who did not understand everything in the Tablature
was called a Pupil (Sch tiler), he who understood it all a
School-friend (Schulfreund). He who could sing five or six
Tunes was a Singer, he who could make songs to the Tunes
of others was a Poet (Dichter), and he who invejited a Tune
was a Master. But all who were enrolled in the society were
called Associates (Gesellschafter). This corresponds to the
explanation by David in the first act of these various terms
(VII, 159 ff.).

While the greater part of these technical terms are thus to
be found in Wagenseil, there still remain three which occur
neither here, nor in any book on Mastersong to which I have

i) Wagenseil, 533.

2) Ibid. 533. cf. Puschman, 29, who gives these Tunes no pre-
ference. In Mayence for a long period no Tunes might be sung except
these four. See Sachs: ^Dichtungen", in ^Deutsche Dichter des sechs-
zehnten Jahrhunderts", IV, „Einleitung", XIX.

9*

- 36 -

had access. These terms are: .Flickgesang", „Schrollen" and
.Uberfall' (VII, i88). .Flickgesang" is perfectly comprehensible
in itself, as being an interpolation in the regular verse-scheme.
.Schrollen" may be Wagner's careless reading of .Schullende
Reimen",^) a kind of.Laster. If we take it as it stands in
Wagner, it is capable of interpretation as meaning .uncouth" or
„clumsy" rhymes.^) .Uberfall" occurs in no dictionary, musical
or otherwise, so for as I have been able to find out. I am
reluctantly compelled to attribute these words, since they are in
quotation-marks, to an as yet unknown source. ,Dorner" (VII,
i6i) is another term which does not occur in the Tablature, but
is introduced by analogy, or for the sake of the rhyme. If there
are .Blumen" in Master song, why not .Dorner' also, reasons
David.

III. THE MASTERSINGERS TUNES.

The entire list of Mastersingers Tunes, so glibly enumerated
by David ') is also in W a g e n s e i 1 in his list of , Meister-Thone,
welche dieser Zeit, und sonderlich zu Nurnberg, pflegen gesungen
zu werden".*) I give them in Wagner's order.

Name of Tune

Author

Short Tune

Der kurze Ton

Barthel Regenbogen
Michael Francke
Conrad Nachtigal
Severin Kriegsauer
Cantzler
Nunnebeck
Hans Sachs

7
7
7
7
II
II

13

i) Wagenseil, 526.

2) Sanders: „Worterbuch", IF, ioi5, article „Schroll".

3) Wagner, VII, 161 f.

4) Wagenseil, 534 ff.

— 37 —

Name of Tune

Author

Hans Vogel

14

Long Tune

Der lange Ton

Heinrich Miigling

20

Hopfengarten

20

Regenbogen

23

Frauenlob

24

Ludwig Marner

27

Caspar Singer

29

Overlong Tune ^)

.L

Writing-paperMea-

Die Schreibpapier-

M. Ambrosius

sure

Weise

Metzger

10

Black-ink Measure

Die Schwarz-

Dinten-Weise

H

9

Red Tune

Der rothe Ton

Peter Zwinger

15

Blue Tune

Der blaue Ton

Regenbogen

16

Frauenlob

17

Green Tune^)

Hedge-blossom

Die Hagebluh-

Measure

Weise

Frauenlob

9

Grass-blade Mea-

Die Strohhalm-

M. Ambrosius

sure

Weise

Metzger

9

Fennel Measure

Die Fengel-Weise

Hans Findeisen

9

Tender Tune

Der zarte Ton

Frauenlob

21

Sweet Tune

Der siisse Ton

Georg Schiiller

18

Rose-tone Measure

Die Rosenthon-

Weise

Hans Sachs

20

Short-love Tune

Der kurzen Liebe

Ton

Michael Vogel

12

i) Of Overlong Tunes there are none in Wagenseils list, but Wagner
may have formed this by analogy with the Overshort Tnne of Georg Hager,
and the Overtender Tune of Frauenlob. Overlong Tunes do, however,
occur in other lists of Mastersongs. Hans Sachs was the inventor of one
with sixty- three rimes. See Ranisch, 132.

2) The Green Tune does not occur in this list alone, but there is a
Green- vinegard Measure, and a Greelinden-blossom Measure, from which
this may be taken.

3B -

Name of Tune

Author

i*H in

li

Forgotten Tune

Der vergessene Ton

Frauenlob

15

Rosemary Measure

Die Rosmarin-

Weise

Hans Friedlein

8

Yellow-violet Mea-

Die Gelbveiglein-

M. Ambrosius

sure

Weise

Metzger

13

Rainbow Measure *)

Nightingale Mea-

sure *)

English-tin Measure

Die englische Zinn-
weise

Kaspar Enderles

21

Cinnamon-stick

Die Zimmtrohren-

M. Ambrosius

Measure

Weise

Metzger

27

Fresh-pomegranate

Die frische Pome-

Measure

ranzen-Weise ^)'

28

Green-linden-

Die griine Linden-

blossom Measure

bliih-Weise

Beschreier

30

Frog Measure

Die Frosch-Weise

Frauenlob

18

Calves Measure

Die Kalber-Weise

Heiden

20

Thistle-finch Mea-

Die Stieglitz-Weise

Adam Puschman

15

sure

Deceased-glutton

Die abgeschiedene

Measure

Vielfrass-Weise

Carl Foder

12

Lark Measure

Die Lerchen-Weise

Heinrich Ender

22

Barkers Tune

Der Beller-Ton

Severin Kriegsauer

22

Snail Measure

Die Schnecken-

M. Ambrosius

Weise

Metzger

7

Balsam-blossom

Die Melissenbliim-

Measure

lein-Weise

«

17

(Sweet-smelling-)

(Die wohlriechend-)

majorem Measure

Meiran-Weise

H

20

i) There are no Rainbow and Nightingale Tunes, but there are Tunes
by authors of these names.

2) The author's name is not given.

— 39 —

Name of Tune

Author

■4-1 to

Yellow-lion-skin

Die Gelblowenhaut-

M. Ambrosius

Measure

Weise

Metzger

23

True-pelican Mea-

Die treu Pelikan-

sure

Weise

»

i8

Brightly-gleaming-
wise Measure ')

Die buttglanzende
Draht-Weise

Jobst Zolner

23

Later on, where Beckmesser is rating the errors of Walther's
trial-song^) he mentions four more Tunes from this same list.

Adventure Measure

Blue-Lark-spur
Measure

Lofty-pine-tree
Measure

Proud youth Mea-
sure

Die Abenteuer-

Weise
Die blau Ritter-

sporn-Weise
Die hoch Tannen-

Weise
Die stolz Jiingling-

Weise

Hans Folz
M. Ambrosius
Metzger

Heinrich Wolf
M. Ambrosius
Metzger

20

20

20

20

The .Knieriem-Schlag-Weis'" and the „Eitel-Brodt- und
Wasser Weis'",*) as well as the „Arm-Hunger-Weise",*) Wagner
humourously makes up, but the „Harte-Tritt-Weis'" ^) is in
Wagenseil's list.

Heavy-tread Mea
sure

Die harte
Weise

Tritt-

Daniel Steiglein
The ,Schlag-reim* is taken from the Tablature.^) The name

i) A conjectural translation, reading „butt" as a misprint for nbunt".
Bayard Taylor: .Studies in German Literature", i44 translates it „blood",
reading „blut" here. Reading it as it is, it is quite capable of referring to the
copper hoop with which the wooden buts, carried so often by the women
of Bavaria, are hooped. These might „gleam brightly" in the sun.

2) Wagner, VII, i84.

3) Ibid. VII, 162.

4) Ibid. VII, i64.

5) Ibid. Vn, i64.

6) Ibid. VII, i64.

— 4° —

given to Walther's prize-song, „die selige Morgentraumdeut-Weise*
(VII, 255) is also a fine invention of Wagn-er's own. Wagner
has chosen very skillfully from the two hundred and twenty-two
Measures of Wagenseil's list just those which are most character-
istic of the Mastersingers fanciful and oftentimes fantastic nomen-
clature, and to one who has studied Mastersong this is one of
the most familiar touches. There is an artist's purpose in picking
out just the best named Tunes by which the jealous Beckmesser
may characterize the young knight's trial-song — ,die Abenteuer-",
,blau Rittersporn-", „hoch Tannen-", and „stolz Jungling-Weise",
all of which apply to the noble youth whom Beckmesser in-
stinctively feels is above him.

IV. DRAMATIS PERSONS.

These are taken directly from WagenseiH) who gives
the list of the twelve old Nuremberg Mastersingers as follows:

I. Veit Pogner, 2. Cuntz Vogelsang, 3. Hermann Ortel,
4. Conrad Nachtigal, 5. Fritz Zorn, 6. Sixtus Beckmesser, 7. Fritz
Kothner, 8. Niclaus Vogel, 9. Augustin Moser, 10. Hans Schwarz,
1 1. Ulrich Eisslinger, 12. Hans Folz. The same list is given in
Schilter.2)

The list of Nuremberg Masters was evidently a somewhat
variable one, for Hans Sachs gives the following one : *)

,1. Kunrat Nachtigall, ein peck. — 2. Fritz Zoren, ein
nagler. — '3. Fogelgesang, heftelmacher. — 4. Herman Oertel,
heftelmacher. — 5. Fritz Ketner. — 6. Mertin Grim. — 7. Sixt
Peckmesser. — 8. vom Gosten-Hoff, ein Schneider. — 9. Hans
Schwartz, priefmaler. — lo. Ulrich Eislinger, holzmesser. —
II. Hans Foltze, balbirer. — 12. Lienhart Nunnenpeck, weber."

It will be seen that the list of Hans Sachs does not agree
with that of Wa g e n s e i 1 , nor hence with that of Wagner. The
occupation of most of the Masters is also given, but in no case

i) Wagenseil, 5i5.

2) „Thesaurus", III, 88.

3) Condensed from his Mastersong, „Ein Schulkunst". See his „Dich-
tungen", in ^Deutsche Dichter des sechszehnten Jahrhunderts", IV, 102 ff.

— 41 —

does it correspond with that assigned by Wagner to his charac-
ters. Since Wagenseil does not mention the callings of the
worthy Masters whose names he gives, we may conclude that
Wagner made his list of callings from whole cloth.

Wagner likewise changes the name of Fritz Zorn to
Balthazar Zorn, a change perhaps made for euphonic
reasons. Fritz Zorn, with the two hard tz sounds coming
together, would be difficult to sing, while Balthazar is not only
more euphonious , but makes easier metre. The eighth in
Wagenseil 's list, Niclaus Vogel, while not given in the list of
acting persons, exists in absentia, as it were, in the drama,
for his name is called in the roll of Mastersingers in the first
act (VII, 169 f.).

„Kothner.

Niklaus Vogel? — Schweigt?
Ein Lehrbube (sich schnell von der Bank erhebend)

1st krank.
K o t h n e r.

Gut' Bess'rung dem Meister!
Alle Meister.

Woll's Gott!
Der Lehrbube.

Schon Dank!"
Wagner has made a slight mistake in the name of Kothner.
Following Wagenseil, who agrees with Schilter') he spells
it , Kothner". Puschman, however, and Hans Sachs ^) in more
than one place, have the name .Ketner", which is undoubtedly
right. In Wagenseil's list of Mastersongs ^) he has the name
twice correctly written, „Fridrich Ketner". This is a good illu-
stration of the fact that Wagner's comparison of sources was
not wide.

There is a slight anachronism in bringing Hans Folz und
Hans Sachs into the same play, for Hans Folz died before Hans
Sachs began to compose, and was in fact one of the pioneers

Wagenseil, 5i5; Schilter, III, 89.

2) Puschman, 8; Genee, 46i, 477.

3) Wagenseil, 535, 536.

- 42 —

of the art in Nuremberg. G e n e e says : ') „ Erst Hans P'olz, dessen
dichterische Thatigkeit in den Zeitraum von 1470 — 1490 fiel, scheint
dem Meistergesang in Niirnberg grossen Aufschwung gegeben zu
haben, und er kann wohl, nach der grossen Verehrung zu urtheilen,
die er noch bei Hans Sachs genoss, als der eigentliche Begriinder
und Mittelpunct der alteren Niirnberger Singschule betrachtet
werden."

Several of these Masters have Tunes ascribed to them in
Wagenseil's list of Master tunes. ^)

Hans Sachs is credited with ten Tunes') although he really
wrote thirteen. The ten here cited are:
with 1 3 rimes : Der kurze Ton.

„ 20 , Die Silberweise.

„ 20 „ Die Spruchweise.

, 20 „ Die Rosentonweise.

„ 21 , Der klingende Ton.

, 22 , Der goldene Ton.

, 24 „ Der bewahrte Ton.

, 25 „ Der neue Ton.

, 27 „ Die Morgenweise.

, 34 , Der schlechte lange Ton.
Hans (Kunz?) Vogelgesang has only one:
with 30 rimes : Der goldene Ton.
Five occur by Conrad Nachtigal:

with 5 rimes: Der kurze Ton.

„ 5 „ Die kurze Tagweise.

, 9 , Der sanfte Ton.

„ 23 , Der schlechte lange Ton.

„ 25 , Der Leidton.
,Der geschiedene Ton Nachtigals", with seventeen rimes, may
also be his, although in every other case his full name is given.

1) Genee, 254.

2) Wagenseil, 534 fiF.

3) A complete list of his Tunes is given in his mss. „Generalregister"
in the „Ratsbibli9thek'' at Zwickau. The remaining three are, „Die hohe Berg-
weise", aDie Gesangweise", „Der uberlange Ton." See Genee, 464.

- 43 -

Friedrich Ketner has three Tunes :

with 1 6 rimes : Die Osterweise.
, 22 „ Der Frauenton.
„ 2g , Der Barat-Reihen.
Fritz Zorn has also three Tunes:

with 23 rimes: Der verhohlne Ton.
, 24 „ Der unbenannte Ton.
,25 „ Die Zugweise.
Eislinger is credited with only one Tune :

with 14 rimes : Die Maienweise.
as well as Hermann Oertel :

with 34 rimes : Der Leidton.
Hans Folz is represented by seven Tunes :
with 8 rimes : Der Theilton.
„ 10 „ Die Feilweise.
,18 , Der Baumton.
, 20 „ Die Abenteuerweise.
,21 „ Der hohe Ton. ,
„ 28 , Die Schrankweise.
„ 30 , Der freie Ton.
The other worthy Nuremberg Masters do not appear in
Wagenseil's list of popular composers at all.^) There were
two Vogels, Hans and Michael respectively, but no Niklaus.
In the mss. „Generalregister" of Hans Sachs, in the section headed:
,Hierauf folgen die thon der Nurnberger Dichter", we find the
names of Fritz Ketner, Hermann Ortel, Vogelgesang, Hans Schwarz,
Sixtus Beckmesser, Fritz Zorn, Cunrat Nachtigal, Hans Folz,
Ulrich Eislinger, and Michael and Hans Vogel, but nowhere
Niklaus.^)

V. THE OCCURRENCE OF THE MASTERSINGERS STANZA
IN WAGNER'S „MASTERSINGERS".

The occurrence of the Mastersingers stanza (Gesatz) in our
music-drama is quite frequent. The first one which occurs is in

i) Wagenseil's list is, however, incomplete and faulty. See „Strass.
Stud." HI, i5i.

2) Genee, 46i.

44 -

the first part of Pogner's speech praising the art of Mastersong
and offering Eva as a prize to the best singer (VII, 1 7 1 f.). The
stanza begins: „Das schone Fest, Johannistag", the antistrophe
begins: ,Die Singschul' ernst im Kirchenchor", the refrain begins:
„Zu einem Werb'- und Wett-Gesang°, and ends apparently ten
lines below. The scheme is therefore as follows : ^)

I
2

3
4

5
6

7
8

9
10

Strophe

4 m a (8)

3 f b (7)

4 m a (8)
4 m a (8)
3 f b (7)

3 f b (7)

4 m a (8)

Antistrophe

4 m c (8)

3 f d (7)

4 m c (8)
4 m c (8)
3 f d (7)

3 f d (7)

4 m c (8)

Refrain

4 m e (8)

3 f f (7)

4 m e (8)

3 f f (8)

4 m g (8)
4 m g (8)
3 f h (7)
3 f h (7)
3 m i (6)
3 m i (6)

Again, where Walther is answering the questions of Kothner
in regard to his master in singing and where he learned the art,
his replies make perfect strophe and antistrophe, as Vogelsang
informs us (VII, 178 f.):

„Zwei art'ge Stollen fasst' er da ein."
Walther's answer to. Kothner's next question forms the refrain.
The scheme is as follows.

Strophe

I

4 m a (8)

2

4 m a (8)

3

4 m b (8)

4

4 m b (8)

5

4 m b (8)

6

3 f c (7)

Refrain

Antistrophe

4 m a (8)

4 m a (8)

4 m b (8)

4 m b (8)

4 m b (8)

3 f d (7)

i) The first row of numerals designates the number of lines in each
part, the first row under each heading is the number of accented syllables^,
The numerals in parenthesis give the entire number of syllables in the line.
The other symbols are self-explanatory.

2

m

b

(4)

2

m

b

(4)

3

f

e

(7)

4

m

b

(8)

3

f

e

(7)

2

m

f

(4)

— 45

9

lO

II

12

13

14

15
16

Strophe
4 m a (8)
3 f e (8)

Antistrophe
4 m a (8)
3 f d (7)

Refrain

2

m

f

(4)

2

m

g

(4)

2

m

g

(4)

3

f

h

(7)

4

m

i

(8)

3

f

h

(7)

4

m

i

(8)

3 f J (7)

4 m i (8)

3 f ) (7)

These will he perhaps enough stanzas to give in detail.
Walther's trial-song (VII, 182 ff.), is one long stanza of eighty-
one lines. The strophe and antistrophe are each twenty-nine
hires long, the refrain twenty-three. The strophe begins: „Fanget
an!" and ends: ,Zu Schaden konnte bringen." The antistrophe
begins : „ Doch : fanget an ! " and ends, not where Beckmesser
interrupts, but after Walther continues his song, with „die
Elstern, KrSh'n und Dohlen". The refrain comprises all the rest.
Beckmesser's Serenade (VII, 219 ff.) in the second act, is an
excellent travesty, not of Mastersong as it really was, but of it
as it appears in Wagner. The serenade forms three stanzas, of
which the strophes and antistrophes are each seven lines long,
and the refrains six. The effect of the misplaced accents is
irresistibly lucidrous, and quite in keeping with the genuine
Mastersong, which went by count of syllables, not by accent.

Walther's , Selige Morgentraumdeut-Weise " is a Bar of three
stanzas. The first two he makes under Sachs' direction , the
third under the immediate inspiration of the presence of Eva in
the work-shop. The three stanzas begin as foljows :

I. „Morgenlich leuchtend in rosigem Schein" (VII, 239).
II. ,Abendlich gliihend in himmlischer Pracht" (VII, 241).

III. .Weilten die Sterne im lieblichen Tanz?' (VII, 251).

The Prize-song of Walther is, however, quite a different
affair from this. It will be remembered that after Walther has
sung the first strophe of the first stanza, the Masters let fall the
paper which contains the Morning-song, and from here on

— 46 —

Walther allows himself great freedom, and makes the entire Bar
into one long stanza, of which the strophe extends from „Morgen-
lich leuchtend" to ,Eva im Paradies", the anti-strophe from
„Abendlich dSmmernd" to ,die Muse des Parnass", and the
refrain from here to „Parnass und Paradies" (VII, 267 ff.)-

Mey^) not only points out these stanzas within the drama,
but declares that the entire drama is, in its general content, one
stupendous stanza, a curious comparison, and one which cannot
be followed out too closely, although the first and second acts
are in a measure counterparts, leading up to the third in con-
clusion.

VI. WAGNER'S GENERAL TREATMENT OF HIS MATERIAL.

Wagner has not hesitated to alter the historical basis of his
drama to suit his needs. That, in spite of his not inconsiderable
liberties, he has still succeeded in giving us the best and most
vivid general historic impression of this peculiar organization and
of the burgher-life of the time, redounds to his credit as a
synthetic artist.

A regular School of the Mastersingers would have been
impossible for Wagner's purposes, first, because he could not
have introduced Walther's love-song, (since the subjects must
all be Biblical in these sessions), and secondly, because only
Mastersingers might take part in them, and Walther was not
even an apprentice in the an. Wagner must introduce then the
Open Singing, in which even strangers might participate, and in
which the subjects might be secular. Hence David's explanation
(VII, 156):

, Nur Freiung heut' ;

der Lehrling wird da losgesprochen,

der nichts wider die Tabulatur verbrochen;

Meister wird, wen die Prob' nicht reu't."
But here also he must take license, for he must give Walther
an opportunity to become Master, and so to win Eva's hand.
Hence he brings in some motives from the ceremony of receiving

i) Mey, 90 ff.

— 47 —

an apprentice into the Mastersingers Guild.') The roll-call occurred
only in the Singing-school, and it was only the Singing-school
which held its sessions in church. The first question which is
asked of Walther, however,

,ist er frei und ehrlich geboren?"
comes from the rules for taking in an apprentice, which was
done at the Revel. The other two questions really have no basis
in W a g e n s e i 1.

This meeting was, however, according to Wagner, not a
regular meeting at all, but a gathering preliminary to the public
festival of St. John's day. This public festival of the Master-
singers is no invention, as we learn from the Nuremberg „Schul-
zettel", and of course it was necessary to arrange for the
occcasion at some previous meeting. The letter of foundation
of the Freiburg School (1513)^) says that there shall be two
Singing-schools, one on St. John Evangelist's day and the other
on the Tuesday of Whitsuntide. There must have been a
meeting of this sort on St. John Evangelist's day in Nuremberg
also, to the preparation for which Hans Sachs refers : ^)

,Item alle jar auf sanct thomas tag oder die nechst schuel
darfor sol man die Festlider verhoren und die fest singer ver-
ornern (verordnen) wie solen singen."

This was evidently to prepare for a festival on St. John
Evangelist's Day (December 27). According to Schnorr von
Carolsfeld*) there was a festal gathering of the Mastersingers at
Wohrd, a suburb of Nuremberg, on the Feast of Trinity. Now
Wagner has either mistaken the festival of St. John Evangelist for
that of St. John Baptist (June 24) or has arbitrarily changed the
festival of Trinity to that of St. John. His reasons for choosing
this spring-day, so beautifully celebrated in southern Germany,
are obvious.

i) Wagenseil, 546.

2) Uhland: ^Schriften", H, 297.I

3) Genee, 4i2.

4)Mey, 44, Ranisch, 28, says that the Nuremberg Mastersingers had
a festival a week after Pentecostal Sunday at Wohrd — but this was because
the expenses of meeting in the church were too great.

— 48 —

Wagner has also arbitrarily assumed that there were two
Critic's Seats (Gemerke), a smaller and a larger, the first to
bfe used at the Open Singing, the second in the Singing-school
(VH, 164). This is a gratuitous invention of his, as is also the
marking of the song by Beckmesser as the only critic, instead
of the customary three or four. This latter device was however
necessary, since only Walther's rival would have criticized his
song so severely. Poor Walther is marked, too, according to
rules that he has never heard, for from the Leges Tabula-
turas have been read to him only the introductory part, and
David's glib enumeration of errors contains no real information.

There is a curious slip in Hans Sachs' speech immediately
after his reception by the apprentices and people in the third
act. Sachs informs the people (VII, 261):

„Schon grosse Ehr' ward mir erkannt,
ward heut' ich zum Spruchsprecher ernannt :
und was mein Spruch euch kiinden soil,
glaubt, das ist hoher Ehre voll!"
Now as a matter of fact, a „ Spruchsprecher" was a droll fellow,
standing between the fool of the middle ages and the clown of
today, who improvised at weddings and such occassions songs
both pertinent and impertinent. How Wagner could have made
this a position of honor, conveying the idea that the .Spruch-
sprecher" was the mouth-piece of the Mastersinger's body, is a
mystery, for WagenseiP) gives a long list of reasons why
the „ Spruchsprecher " were not to be confounded with the
Mastersingers, which are briefly as follows :

I. They were single sporadic occurrences in various cities
and had no organization, no were they legitimatized by the
authorities.

2) They always improvised, and hence their verses were
forced and irregular, bound by no rules, as were those of the
Mastersingers.

3. They were ,gute nasse Briider", and sang for money or
drink at weddings and other festal gatherings, their verses flowing
in proportion to the flow of ardent spirits.

I) Wagenseil, 488 ff.

— 4D —

4- They altered words to suit themselves for the sake of
the rime, and did not confine themselves to the strict truth, as
for instance Wilhelm Weber, the great Nuremberg ,Spruch-
sprecher", said:

,Paulus schreibt an die Epheser,

Ihr Herren seid lustig, brecht aber keine Glaser."

5. They were boorish, and in their songs attacked things
high and low, secular and religious, so that in some cities they
were suppressed by the magistracy.

6. They either spoke their doggerel, or sang it in only one
ballad-melody.

7. Their only object was to excite laughter.

8. They were esteemed only by the rabble, while Master-
singers were held in honor by people of rank.

9. There were no learned men among them, as among the
Mastersingers.

There remains the possibility of crediting Wagner with an
intentional and therefore humorous misuse of the term. Hans
Sachs may be saying all this quite jokingly. If this interpretation
be true, it must be said that very few of the audience will be
likely ever to know that this is a joke.

There remains one point to notice which is a little out of
the province of our theme, but which is mentioned for the sake
of completeness. Wagner has not only borrowed literally for
his text from Wagenseil, but for his score as well. Two of
his motives in the Overture are taken from the melodies of the
crowned Mastertunes given in Wagenseil.

The first motive occurs in the fourteenth measure of the
Overture.^)

Wagenseil: ,Das dritte Gesetz, im langen Thon Ludwig
Mamer" :

-is=isi

^^

i) Wagner: „Die Meistersinger von Niirnberg", „Clavierauszug von
Karl Tausig", i.

Bow en, Wagner's Meistersinger. 4

— 5° —

Wagner:

r 1

The same motive is repeated in the two following measures.

Again, at tiie beginning of the pompous Mastersingers' March,
is given a variant of the whole tone-progression from the be-
ginning of the Long Tune of Heinrich Miigling.

Wagenseil:

^^

^

This movement is introduced in Wagner by the trumpets
and harps, is repeated twice and a half, then in the eighth follo-
wing measure is given once and a half again.

Wagner:^)

^^

t^

1=

i) nClavierausgabe", p. 3. cf. also Heinz: „The Mastersingers of
Nuremberg", 5 ff.

CHAPTER II.
SOURCES OF THE PLOT OF THE „MASTER-

SINGERS".

How many sources are drawn upon for one mastervyork is
hard to say. The germ of a composition swells oftentimes when
the artist himself is not aware of it, and who can watch the
process of this unconscious growing? We enquire first about
the seed when we see the flower. The ^Mastersingers" has its
roots back in Wagner's boyhood.

I, TRACES OF E. T. A. HOFFMANN IN THE ..MASTERSINGERS".

Muncker, in his excellent although brief life of Wagner,
speaks more than once of the influence on Wagner of the
romantic novelist E. T. A. Hoffmann. From his early youth'),
Wagner was familiar with the tales of this eccentric genius (at
once artist, writer, and musician), and it was to this German
Poe that he owed suggestions for at least two of his operas,
i. e. „Tannhauser" and the „ Master singers". The two novels
written by Wagner during his first dreary stay in Paris .Eine
Pilgerfahrt zu Beethoven' and ,Ein Ende in Paris" bear likewise
many traces of Hoffmann.

,Einzelne Ziige in diesem vortrefflich erzahlten, mit Witz,
Humor, Ironie und Satire gewiirzten, aber auch mit riihrender
Empfindung reich erfuUten Novellen, muten uns in ihrer wunder-
lichen Genialitat geradezu Hoffmannisch an."^)

i) Muncker: ^Richard Wagner", 7.
2) Ibid. 23.

4*

— sa-
in 1842 Wagner began ,Tannhauser", whose plot contains
some motives from Hoffmann's „Kampf der Sanger".') In 1845
he finished this work and went during the summer to Marienbad
to recuperate. It was here that he made the first sketch of the
„Mastersingers*, still under the influence of his studies for
.Tannhauser", and it is perhaps from the ,Kampf der Sanger"
that he first came upon a mention of Wagenseil, his indis-
pensible source for all that pertains to Mastersong.

The story of Hoffmann's to which Wagner owes the
main motive of the plot of the ,Mastersinger' is „Meister Martin
der Kufner und seine Gesellen",^) originally published in the
„ Leipzig Taschenbuch zum geselligen Vergniigen" in 18 19, and
afterwords inserted in his collected works as one of the short
novels in the .Serapionsbriider*. The scene of this story is
ancient Nuremberg, at the time when Mastersong was in its
prime. The plot is briefly as follows :

Master Martin, the richest and most honorable cooper of
Nuremberg, and Candlemaster of his guild, has a beautiful
daughter Rosa, whom be purposes to marry only to that journey-
man who shall excell in his own calling of coopering. This
resolution is, as he believes, in accordance with a divine reve-
lation made to him by his grandmother on her death-bed, on
the night of Rosa's birth — a communication which ran as follows :

„Magdlein zart mit rothen Wangen,

Rosa, hor das Gebot,

Magst dich wahren vor Noth und Bangen.

Ein glanzend HSuslein wird er bringen,

Wiirzige Fluthen treiben drinn,

Blanke Englein gar lustig singen,

Mit frommen Sinn

Horch treuster Minn.

Ha! lieblichen Liebesklingen.

1) Muncker: „Richard Wagner", 36.

2) Hoffmann: „Gesammelte Schriften", II, 224.

— 63 —

Das HSuslein mit giildnen Prangen,

Der hat's ins Haus getrag'n,

Den wirst du siiss umfangen,

Darffst nicht den Vater frag'n

1st dein Braut'gam minniglich.

Ins Haus das Hauslein bringt allwegen

Reichthum, Gliick, Heil und Hort" u. s. w.^)

Master Martin sees clearly that this vessel, in which are spicy
juices, and angels singing up and down, can be no other than
a wine-cask, and that the angels are the pearling drops, hence
his decision.

Now three youths, Friedrich, a silversmith, Reinhold, an
anist, and Conrad, the son of a country noble, all fall in love
with Rosa, and knowing Master Martin's condition for winning
her, all three learn ihe cooper's trade and enter his service as
journeymen-apprentices.^) Friedrich finally wins the maiden,
not by making a fine cask, but by fashioning in his leisure
hours a curiously beautiful silver goblet, which contains the spicy
wine as well as a cask, and in the bottom of which are chased
the figures of angels, which seem to float up and down as the
wine bubbles over them.

Hoffmann introduces also an Open-Singing in the church
of St. Catharine, in which Friedrich and Reinhold take part, to
the great delight of the Mastersingers. When he wrote his own
drama, Wagner may have had in mind the following sentence:

„Bald darauf setzte sich Friedrich auf den Singstuhl, zog
sein Barett ab und begann, nachdem er einige Sekunden vor sich
•hingeschaut, dann aber einen Blick in die Versammlung geworfen,
der wie ein gliihender Pfeil der holden Rosa in die Brust traf,
dass sie tief aufseufzen musste, ein solches herrliches Lied im
zarten Ton Heinrich Frauenlob's, dass alle Meister einmiithiglich

i) Hoffmann, II, 242.

a) This story was suggested to Hoffmann by a picture of Kolbe's,
representing the interior of a cooper's shop with a master-cooper and his
three young apprentices working, and a maiden just entering the door.
This picture Hoffmann represents as being given to Rosa as a wedding-
present by Reinhold. See Ellinger: „E. T. A. Hoffmann", 136.

— 54 -

bekannten, keiner unter ihnen vermoge den jungen Gesellen zu
iibertreffen. " ')

After the Singing-school Master Martin, his daughter Rosa,
and Reinhold and Friedrich go out of the city to the Aller-
wiese, where games are being played and general festivities
are going on. This may have been suggestive to Wagner also
of his St. John's day celebration.

But the main point is, that Rosa is offered as a prize for
a Masterwork only on condition that she herself consent. Master
Martin says :

,Wie es sich kiinftig fiigen mag, iiberlass ich ganz dem
Willen des Herrn, aber so viel ist gewiss, dass weder ein
Patrizier, noch ein anderer, meiner Tochter Hand beriihren wird,
als der Kijper, der sich mir als den tiichtigsten geschicktesten
Meister bew5hrt hat. Vorausgesagt , dass ihn meine Tochter
mag, denn zwingen werde ich mein liebes Kind zu nichts in der
Welt, am wenigsten zu einer Heirath, die ihr nicht ansteht. " ^)

Now this is precisely the chief motive in Wagner's plot.
Eva is to be given to the best master of song, but only if she
herself be willing. Pogner says (VII, 173):

,Nun hort noch, wie ich's ernstlich mein'!
Ein' leblos' Gabe stel' ich nicht:
ein Magdlein sitzt mit zu Gericht.
Den Preis erkennt die Meister-Zunft ;
doch gilt's der Eh', so will's Vernunft,
dass ob der Meister Rath
die Braut den Ausschlag hat."
There can be no doubt that Wagner drew his principal
motive thus from this very tale.

II. THE „MASTERSINGERS" IN ITS RELATION TO DEINHARD-

STEIN'S DRAMA „HANS SACHS", AND TO LORTZING'S COMIC

OPERA OF THE SAME NAME.

Deinhardstein's drama ,Hans Sachs" was given for the
first time on the 13 th of February, 1828, in the court-theater at

i) Hoffmann, II, 269.
2) Ibid. II, 235.

— 55 —

Berlin.') A decade later, Lortzing wrote his comic opera of
the same name, basing it on Deinhardstein's text. This
opera was first given in Leipzig, on the 23 rd of June, 1840, on
the occasion of the celebration of the four-hundredth anni-
versary of the invention of printing.^) To each of these plays
Wagner perhaps owed something, but to the latter certainly
more than to the former.

The plot of Deinhardstein's drama is briefly as follows :
Hans Sachs, a young shoemaker and poet, already a member
of the Mastersingers Guild, is in love with Kunigunde,*) the only
daughter of Master Steffen, a rich goldsmith in Nuremberg. The
maiden returns his affection, but conceals the connection from
her father, whose pride would not allow him to give his daughter
to a mere cobbler. At this juncture Coban Runge, a councillor
from Augsburg, but an egregious coxcomb and coward, sues for
the hand of Kunigunde, and is favored by her father on account-
of his rank. The would-be bridegroom surprises the lovers in
a clandestine meeting, and later, finding that his rival is only a
shoemaker, reports the matter to Master Steffen just before Hans
Sachs comes to demand openly the hand of Kunigunde. Incensed
at such presumption, the father is about to refuse Sachs a hearing
when the daughter, herself none too well pleased with her
lover's lowly calling, declares that Sachs is not a cobbler, and
promises to wed Coban that very day if her assertion is not true.
At once, in a private interview with Sachs, she demands that he
give up his trade in order to gain her hand. This he feels he
cannot honorably do, and Kunigunde, mad with disappointment,
denies her love for him and bids him begone. Sadly he resolves
to leave Nuremberg forever, for also his envious fellows in the
Mastersingers guild have put him and his poetry to open shame.
Already he is some distance from the city when he meets a
stranger in hunting-costume, who enquires the way to Nurem-
berg. To accommodate this unknown (who is the Emperor

i) Deinhardstein: „Hans Sachs", 5.

2) Lortzing: „Hans Sachs", 5 f.

3) Kunigunde Creutzerin, the only daughter of Peter Creutzer, was Hans
Sachs' first wife. See Ranis ch, 39.

- 56 -

Maximilian travelling incognito), be turns back, learning on the
way to his great satisfaction that his poetry has reached the
ears of the Emperor and found favor there. In the meantime
Master Steffen has been elected burgomaster, which honor Runge
cleverly persuades him is due to his efforts. The grateful burgo-
master decides to give him Kunigunde that very day as his
reward. The young lady, however, opposes this arrangement;
force is about to be employed when Sachs re-appears on the
scene. He hastens to Maximilian, whom be believes to be a
powerful duke, and receives from him a half-promise of assistance
if he will repair an hour hence to the market-place, where a
festival is being held in honor of the installation of the new
burgomaster. Here he learns in a stolen interview with the
repentant Kunigunde that the burgomaster and the city fathers
have passed sentence of banishment on him on account of his
. forcible entrance into Master Steffen's garden. Just then Maxi-
milian appears, and under color of a suppositious case which
he proposes to the burgomaster he makes that worthy decide
his own case in favor of Sachs and Kunigunde. Master Steffen
still urges, however, the claims of gratitude which Coban has
upon him, but the councillors assure him that Coban had nothing
to do with their choice. Coban slinks off: Sachs is crowned with
a laurel-wreath by Kunigunde and the play ends in uproarious
cheers for Emperor Max.

Wagner certainly must have known this drama, but is
apparently not directly indebted to it.*) Most of the motives
which are common to Deinhardstein and Wagner occur in
Lortzing also. We note a few exceptions. Walther's Prize-
song 'recalls one of Sachs' monologues in Deinhardstein:^)

„Wie leer erscheint mir jetzt der Traum,

Als einmal unterm Bliitenbaum,

Sich mir der Dichtkunst Muse zeigte.

Den Lorbeer mir herunterneigte ;

Dies schone Bild der Phantasie,

Es wich aus meiner Seele nie.*

i) „Richard Wagner- Jahrbuch", I, 236 f.
2) Deinhardstein, 66.

- 57 —

This idea, as it is in Deinhardstein, probably comes from
Hans Sachs himself) and it is hardly crediting Wagner with
too much poetical ingenuity to suppose that he may have hit
on this common motive independently. This does not seem to
me necessarily to prove knowledge on his part of Deinhard-
stein's drama.

The character of Hans. Sachs, as he appears in the .Master-
singers", is also foreshadowed to some degree in Deinhard-
stein. He is represented already in this drama as in revolt in
some degree against the barren rules of Mastersong in favor of
more truly poetic expression. A criticism ^) of him put in the
mouth one of the Mastersingers would serve as an excellent
comment on Hans Sachs and his attitude toward Walther's poetry
as depicted in the „ Mastersingers".

,Zweiter Meistersinger. Er hat Talent,

Das ist wohl wahr — allein —

Erster Meistersinger. Talent ! Talent !

Wir brauchen kein Talent, Tabu laturam

Soil er befolgen; die Aequivoca,

Die Relativa und die blinden Worte

Soil er vermeiden, keine Milben brauchen,

Glatt singen , soil er, das begehren wir,

Nicht aber dabei zucken, wie er's thut,

Das macht den Dichter und nicht das Talent.

Talent kann jeder haben, aber nicht

Das rechte Ohr und jene Sorgsamkeit,

So uns die Fehler klug vermeiden lassen,

Und die sprech ich ihm ab : er ist noch nicht

Gesetzt genug, ihm macht die Phantasie

Zu vielen Schaden noch.'
The closing scene of both plays is also in so far similar,
as that the heroine crowns the hero with a wreath. This
incident is not repeated in Lortzing, but as we have shown
above, Wagner has evidently taken this from Wagenseil.

i) Sachs: „Gesammelte Werke". VII, 202 ff., in the „Gesprech, die
neun gab Muse oder Kunstgottin betrefFend".
2) Deinhardstein, i5.

- 58 -

We turn now to Lortzing, whose opera affords a more
satisfactory field for comparison.

The text to Lortzing's opera was written for the most part
by his friend the actor PhiUpp Reger. A few of the humorous
touches Lortzing himself added. The song with the refrain:

,Der Liebe Gliick, das Vaterland" (No. i)
and the finale, were written by Philipp Diiringer.')

The plot of the opera is as follows:

Hans Sachs, a young shoemaker and Mastersinger of Nurem-
berg, already well-known throughout Germany as a poet, has
sued successfully for the love of Kunigunde, the daughter of the
rich goldsmith Master Steffen. Sachs' happiness is clouded,
however, by the arrival of Coban Hesse, councillor in Augsburg,
who obtains from Master Steffen the promise of his daughter's
hand. The already arrogant goldsmith becomes still more puffed
up by his election as burgomaster, and in an open contest in
the Singing-school between Sachs and Coban Hesse he gives
the prize to the latter, as well as the public assurance of his
daughter's hand. To this the jealous Mastersingers readily
assent, although the people are unanimous for Sachs. During
the same festival Gorg, Sachs' apprentice, who is in love with
Kordula, Kunigunde's cousin, in honor of his lady-love on her
birthday, reads as his own a poem which he has stolen from
Sachs. This manuscript he afterward loses, but it is picked up
by two of the Emperor's archers, and carried to Maxmilian him-
self, who is already an admirer of Sachs' poetry, and who has
recently visited him in his shop incognito. In the meantime
Sachs, justly incensed at his public humiliation, resolves to leave
Nuremberg. His farewell interview with Kunigunde is unfor-
tunately discovered by the burgomaster, who by virtue of his
office passes upon him at once sentence of banishment. Sachs
leaves, accompanied by his faithful Gorg, but, meeting on the
way Emperor Maxmilian, whom he recognizes only as his
unknown visitor, returns in his train to Nuremberg. On his
arrival, the Emperor causes enquiries to be made concerning the

i) Lortzing, 6 f.

— 59 —

author of the manuscript which has come into his hands. In
collusion with his future father-in-law, Coban boldly declares
himself the author. , The Emperor requests him to prove his
claim by delivering the poem. This of course Coban cannot do,
so the Emperor orders Hans Sachs to appear, and proclaims
him the author. Amid the jubilations of the people he is again
received among them, and is promised the hand of Kunigunde.
The Emperor adnionishes the citizens not to scorn the shoe-
maker poet on account of his humble calling, and amid huzzas
for Maxmilian the curtain drops.

In this plot we recognize at once many motives of the
„Mastersingers". The indebtedness may be summarized as follows:

In each play occurs a representation of a singing-contest in
one of the Mastersingers meetings, and in each the hero composes
a Mastersong on the stage. In ,Hans Sachs" Gorg purloins his
master's poem, in order to win Kordula's approbation. In the
, Mastersingers" Beckmesser steals Walther's poem (believing it
to be Hans Sachs's), in order to win the hand of Eva. In
,Hans Sachs" Coban Hesse, the pretended author of the poem,
fails to deliver it, and is thereby put to shame. In the , Master-
singers" Beckmesser fails in the same test, and suffers the same
defeat. In both plays the hero is revealed as the real author,
and thereby gains the hand of the heroine. Kunigunde and
Kordula ') in the one opera, correspond to Eva and Magdalene
in the other. In ,Hans Sachs" Gorg, Sachs' apprentice, is in
love with Kordula, Kunigunda's cousin, just as in the „ Master-
singers" David is in love with Magdalene. In both operas the
apprentice makes great pretensions to a knowledge of Mastersong,
and is derided by his comrades for his sloth and vanity. In both
operas occur apprentice-choruses^) and cobbler-songs.^) Coban
Hesse sings a stupid Mastersong of his own composition, with
which may be compared Beckmesser's serenade.*) The mono-

i) This pair is undoubtedly taken from Agathe and Aennchen in von
Weber's „Freischutz".

2) Lortzing, i f. Wagner, VII, i65 f. and 191 f.

3) Lortzing, 11 and 43. Wagner, VII, 211 S., 232 and 258.

4) Lortzing, 35 f. Wagner, VII, 219 IF.

— 60 —

logue') of Hans Sachs in Lortzing finds a refined echo in
Sachs's monologue in the „Mastersingers".

Lortzing: '

„Wo bist Dli, Sachs? Hat Dich ein Traum umfangen?

1st, armer Sterblicher, Dir schon die Pforte

Zum sel'gen Jenseits aufgegangen?

Das kann nicht Leben sein — das ist kein Traum,

Und dennoch wachend fass' ich's kaum!

Was ich in mitternacht'gen Stunden

Gedacht, ge^uhlt, empfunden,

In and'ren Herzen fand es Widerklang —

Doch nun zur Ruh', bewegt' Gemiith,
Du musst dies Treiben unterlassen,
Und was Dich hin zur Erde zieht,
Musst Du mit ernstem Sinn erfassen.

(Tritt an den Arbeitstisch.)
Dem Meister Brass versprach ich neue Schuhe
In nachstcr Frist, drum rasch an's Werk.*

Wagner:

,Wie duftet doch der Flieder

so mild, so stark und voU!

Mir los't er weich die Glieder,

will, dass ich 'was sagen soil. —
Was gibt's, was ich dir sagen kann?
Bin gar ein arm einfaltig- Mann!

Soil mir die Arbeit nicht schmecken,

gabst, Freund, lieber mich frei:

that besser das Leder zu strecken,

und liess' all Poeterei! —
(Er versucht wieder zu arbeiten. Lasst ab und sinnt.)

Und doch, 's will halt nicht geh'n. —

Ich fiihl's — und kann's nicht versteh'n; —
kann's nicht behalten, — doch auch nicht vergessen;
und fass ich es ganz, — kann ich's nicht messen. —

i) Lortzing, i5 f. (Nr. 2. Scene and Aria.) Wagner, VII, 197 f.

— 6i —

Doch wie auch woUt' ich's fassen,
was unermesslich mir schien?
Kein' Regel woUte da passen,
und war doch kein Fehler drin." —

With all this undeniable carrying-over of motives, Wagner
is no plagiarist. It is the right of the present generation to rest
on the shoulders of the preceding one, and if by so doing it
gains a clearer outlook, so much the better. Wagner's text
infinitely surpasses Lortzing's, both in literary form, and in
historical accuracy and vividness. Thus in the details of the
play he gives us a far more careful and characteristic picture of
the time of which he writes than his predecessors in the same
field. In plot, he is superior to an equal degree. In removing
Sachs from the position of hero, he has given Us a beautiful
historical ideal of the Nuremberg singer, un mared by the pettiness
of a young lover's passion, a genial and benignant character, yet
withal with that tinge of melancholy, coming from his hardly
self-confessed love for Eva, which is the final touch of art in all
portrayal.

As he sits in his workshop on the morning of St. John's
Day, reading the great folio on his knees, we can think of him
only as his pupil Adam Pus ch man depicts him, in his benig-
nant old age : ^)

,Ein Alt Man, was

Grau und weis, wie ein Taub dermas,
Der het ein grossen Bart fiirbas
In ein schonen grossen Buch las
Mit Gold beschlagen schon.

This is the great point in which Wagner excells the others.
But he has also ennobled the character of the heroine's father
by representing him not as influenced by pride in the disposal
of his daughter's hand, but by a worthy desire to advance the
interests of his beloved Mastersong.

i) From Puschman's „Elogium Reverend! Viri Johannis Sachsen
Noribergensis", printed as supplement to Ranisch, 358.

— ea-

rn. HAGEN'S ..NORICA".

Muncker^) mentions also as a source from which Wagner
may have drawn for our drama Hag en's historical novel .Norica",
which first appeared in 1829. This novel purports to be an
account by one Heller, merchant of Frankfurt, of his visit to
Nuremberg in 1518. The time is slightly earlier than that of
the nMastersingers", and the novel is really a series of pictures
of the famous artists of Nuremberg. — Diirer, the painter, Veit
Stoss, the wood-carver, Peter Vischer, the brass-founder, Adam
Krafft, the sculptor, and others whose labors served to make
Nuremberg the most beautiful of mediaeval German cities. Hans
Sachs is introduced as a rollicking young cobbler (he would have
been thirty-four at this time), and a description of the Singing-
school and of the Revel of the Mastersingers finds its due place.
It is not difficult to see that Wagenseil was Hag en's source
here, as well as Wagner's, the surest evidence being that he
repeats the mistakes of his authority, i. e. gives Ketner's name
as Kothner ^) and puts the Singing-school in St. Catharine's church
at this early day.')

I can find no evidence that Wagner used this novel. If he
had followed it very closely, he would have avoided his own
anachronism in regard to Hans Folz, whose time Ha gen gives
distinctly as fifty years before that of Hans Sachs.*)

IV. DIRECT QUOTATIONS.

Wagner has twice availed himself of the privilege of direct
quotation in his text, outside of the already-mentioned pariphrase
of a portion of Wagenseil. The first that we have to note
is the song with which the people greet Sachs on his arrival at
the festival in the Pegnitz- meadow (VII, 260). This song, „Die

i) Muncker: „Richard Wagner", 84.

2) Hag en: ^Norica", 246.

3) Ibid. 243.

4) Ibid. 237.

- 63 -

Wittembergische Nachtigal",^) is characteristic of Sachs' attitude
toward the Reformation. Almost from the very first he took an
interest in it, buying numerous Reformation pamphlets which
he had bound together in 1522. At the end of the volume he
had written: .Dieses Piichlein habe ich Hans Sachs also ge-
samelt, Gott und seinem Wort zu Ehren und dem Nachsten zu
gut einpijnden lassen, als man zahlt nach Christi Gepurt 1522
Jahr. Die Wahrheit bieibt ewiglich. " ^) The „Wittembergisch
Nachtigall" followed in 1523. The epithet which he gave Luther
was taken up by both friends and enemies, and he himself was
subjected to abuse. Thus Cochlaus writes in his „ ActisLutheri'
,Auch Schuster und Weiber lasen das N. Testament D. Luthers
begierig und konnten es fast auswendig. ' ^j Not content with
this, Sachs published the following year four prose dialogues,
treating the theme of the hour in a popular theological style.
For several years after this Sachs was silent, but finally he was
induced by Osiander, the fiery Reformation preacher in the
church of St. Lawrence, to add verses to a number of pictures,
found in a Carthusian cloister in Nuremberg after its revocation.
The pictures were printed as woodcuts, bearing the names of
Hans Sachs and Osiander, under the title „Ein wunderlicher
Weissagung vom Papstthum', in 1527.*) The book was offered
for sale in the Nuremberg market, but at once the copies were
confiscated so far as possible by the city council, and Osiander
and Sachs, as well as the printer, received a severe reprimand
and a warning against any such further attempt. This effectually
silenced Sachs' Reformation songs for almost a decade, and when
he did begin again, it was in a milder ard more general tone.
The theme of this song was treated by Hatis Sachs both
as a .Spruchgedicht" and as a Mastersong, and was a popular
Reformation-song throughout Germany. The lines are given
literally by Wagner. The false rime in the last two lines is

1) Sachs: „Gesammelte Werke", VI, 368 ff.

2) Genee, 136.

3) Ibid. 143.

4) Ibid. i65 ff.

— 64 —

caused by the transference into modern orthography of the
original, which reads as follows : ')

„Die rotpriJnstige morgenrot
Her durch die triiben wolcken got" —
The second quotation is the night-watchman's song. Erk
and Bohme^) give it as a call in Thuringia and Saxony, which
goes back to the sixteenth century at least, and was still to be
heard up to 1858. Wagner incorporates in his opera both text
and melody substantially as they were to be heard in his boy-
hood in Saxony. The second verse (VII, 229) is a humorous
addition of Wagner's own.

1) Sachs: „Gesammelte Werke", VI, 368 ff.

2) „Deutscher Liederhort", III, 4ii.

CHAPTER III.

HISTORY AND COMPARISON OF THE VARIOUS

TEXTS.

I. THE FACSIMILE TEXT.

The first suggestion for the „Mastersingers" came to Wagner
in connection with his studies for .Tannhauser", which was first
performed in 1845.') In his „Mittheilung an meine Freunde'^)
he gives a sketch of its origin and first form. In this sketch
several important elements of the plot are not mentioned. In
the first place, Eva's freedom to reject an unwelcome suitor is
not referred to. Then the listener to Beckmesser's serenade is
not named, and there is no allusion to the cudgeling scene which
ends the second act. Neither David nor Magdalene are introduced.
On the other hand, there is one considerable variation in plot,
i. e. Beckmesser demands a new song from Sachs, the morning
after the serenade, on the ground that Sachs has spoiled the
effect of his own song on Eva; and Sachs thereupon gives him
Walther's song, professing however not to know whence it came.
The rest of the plot goes on as in the published version.

Wagner's attention was soon drawn off from this projected
work. In 1849, on account of political difficulties, he was obliged
to flee to Ziirich, where he remained for ten years.') In 1855
.Lohengrin' was given for the first time, and in 1859 .Tristan
and Isolde" was completed. In the same year he visited Paris,
where the famous, or rather infamous .Tannhauser" fiasco

i) Glasenapp: .Richard Wagner's Leben und Wirken", I, 208 ff.

2) Wagner, IV, 385 ff. This account was published in i85i.

3) Glasenapp, I, 265 ff.

Bo wen, Wagner's Meistersinger. 5

66

occurred.*) In 1861 Wagner settled in Vienna, and on the 30th
of October of this year he wrote to his publishers (Schott) in
Mayence, offering them the text and score of the ,Mastersingers"
ready for performance in the following winter.^)

On the 19 th of November 1861 he sent the prose-sketch of
the plot to his publishers. Two manuscripts of this sketch are
in existence, one in the possession of B. Schott's Sons, in
Mayence, the other belonging to Frau Cosima Wagner, and in
Villa Wahnfried, Bayreuth. As the plot is the same as in the
later poetical versions, an outline of it is not necessary.^) It
was not until the 25 th of September, 1862, that Wagner (then
at Biebrich on the Rhine) sent the manuscript of the text to
Mayence. Toward Christmas, 1862, this text was published in
manuscript. This has been recently reprinted,') and affords a
chance for comparison with the later text. The variations from
the printed text in his collected works are numerous and striking,
showing the gradual improvement of the plot. The variations
of the two texts have been printed in part,") but never com-
pletely. The following list gives all differences except those in
the stage-directions.

[In

Facsimile-Edition,
this edition do not appear

the names of the last six Master-
singers.]

, „Fur euch Leben und Blut!
Fur euch dichtender Muth!"

. sliebende Huth."

Second Printed Edition.

157. „Fur eudh Gut und Blut!

Fiir euch
Dichter 's heil'ger Muth!"

158. .liebesheil'ge.Huth."

i) Glasenapp, II, 56 ff.

2) „Nord und Sud", LXXII, 220 ff.

3) I am indebted to the courtesy of the publishers named for information
on this point.

4) In 1895. The date is not given in the book.

5) In „Nord und Sud" l.XXII, 220 ff., and in „Bayreuther Blatter",

XV, 225 ff.

- 67

Facsimile-Edition.
I o. , der ,Lerchen'-, der ,Schne-
cken'-, der ,Beller'-Ton,
der ,verwirrte' Ton, der ,Tone'-
Ton."
to. ,als gut es die Stimm' er-

reichen kann"
17. „Pogner Veit".

18. ,ob in der Gewohnheit

trock'nem Geleise."
18. „ihr selbst euch wendet zu

dem Volk.
Ein Frei-Singen wird gehalten ;
und obgleich immer die Regeln

walten,
nach Lust und Laune, unge-

quSlt,
Stoff und Vers Jeder sich er-

wahlt :
dem Volke soil's behagen."

21. „Meint, Junker, ihr in Sang
und Dicht'."

22. „Ein Gesetz besteht aus
zweier Stollen"

23. „vontausendholdenStimmen

Zum Glockenhall
wird das Gesumm' der
Immen!"
24. „der neues Leben mir schuf:
nun stimm' ich an"

Second Printed Edition.
189. „der ,Lerchen'-, der Schne-
cken'-, der ,Beller'-Ton. "

162. ,als es die Stimm' er-
reichen kann."
„Pogner Veit!
Alle Zeit, weit und breit:
Pogner Veit!"
174. „ob in der Gewohnheit
trSgem G'leise.

175. ,ihr selbst euch wendet zu
dem Volk',
Dem Voike wollt ihr behagen."
179. Meint, Junker, hier in Sang'
und Dicht'."

181. ,Ein Gesetz besteht aus
zweenen Stollen^)

182. ,von holder Stimmen Ge-
menge.

Wie Glockenhall
ertost des Jubel's GedrSnge ! "

183. ,der neu ihr Leben schuf:
stimmt nun an."

i) A more corre ct form for the dative plural. „Zweier" is properly
genitive.

5*

^ 68

Facsimile-Edition.
25. ,hortet ihr besser zu,
Dem Junker, der vor euch

verier,
ihm gabt ihr sieben Fehler

vor:
doch eines Meistergesanges

Bar
gab euch der Jiingling vor;
dass der ganz glatt nach den

Regeln war,
das entging des Merker's Ohr.

Vogelgesang.
Zwei Stollen fand ich wohl-
gericht'.

Nachtigal.
Auch der Abgesang entging
mir nicht.

Sachs.
Als er der Fragen Antwort

gab,
stellt' er ein Bar nach Maass
und Stab.

K o t h n e r.
Nur die Weise war ganz
confus.

Sachs.
Darum,') so komm' ich jetzt
zum Schluss."
26: „Beckmesser.
Nichts weiter! Zum Schluss!

Die Meister.
Genug! zum Schluss!"
28. ,auf da steigt"

186.

Second Printed Edition.
,hortet ihr besser zu

186. „Darum, so komm' ich jetzt
zum Schluss."

181. „Die Meister.
Genug! zum Schluss!"
189. ,auf das steigt."

i) By the ommission of these lines the significance of the „darum"
Sach's speech is somewhat obscured.

69 —

32-

36.

4o.

41.
48.

51-

Facsimile-Edition.
,H'm! h'm! — Was geht
mir im Kopf doch 'rum?"
„Ohne Gnad' versang der
Rittersmann" .
,damit dem Nachbar kein
Schad' geschicht!"
,Ach, neue Noth!"
„Sich einen guten frischen
Muth."
,ZLi Hulfe! Zu Hiilfe!"

Second Printed Edition.

195. „H'm! — Was geht mir
im Kopf doch 'rum?"

202. ,Ohne Gnad' versang der
Herr Rittersmann."

208. .DamitNiemand kein Schad'
geschicht. "

210. „Ach! meine Noth."')

220. ,sich einen guten und fri-
schen Muth."

224. ,Zu Hilfe! zu Hilfe!"

THE STREET-FIGHT.

52. ,Kennt man die Schlosser
nicht?
Sie haben's angericht'!" —
Nein, dort die Schmiede
mit Kloben und Niete! —
Die Becker! die Becker!
Die Ofenhocker! —
Meinst du etwa mich?
Mein ich wohl dich? —
Seht nur, der Hase!
hat iiberall die Nase!" —
Da hast's auf die Schnautze ! —
Herr, jetzt setzt's Plautze!"

i) One is tempted to believe that
The latter is at any rate more significant.

229. ,Kennt man die Schlosser

nicht?
Die haben's sicher ange-

richt'! —
Ich glaub' die Schmiede wer-

den's sein. —
Die Schreiner seh' ich dort

beim Schein. —
Hei ! Schau die Schaffler dort

beim Tanz. —
Dort seh' die Bader ich im

Glanz.
Kramer finden sich zur Hand,
mit Gerstenstang und Zucker-

kand;
mitPfeffer, Zimmt, Muscaten-

nuss.
Sie riechen schon,
sie riechen schon,
doch haben viel Verdruss,
und bleiben gem vom

Schuss. —
meine" is here a misprint for „neue"-

— 70 —

Facsimile-Edition.

Gesellen und Burger

'Sind die Weber und Gerber !
Dacht' ich's doch gleich! —
Die Preisverderber !
Spielen immer Streich'!
Dort den Metzger Klaus,
den kennt man heraus! —
'S ist morgen der Fijnfte!
brennt manchem im Haus.
Ziinfte! Ziinfte!
Ziinfte heraus!

Second Printed Edition.
Seht nur, der Hase
hat iib'rall die Nase! —
Meinst du damit etwa mich?
Mein ich damit etwa dich?
Da hat's auf die Schnauze ! —
Heu, jetzt setzt's Plautze! —
Hei ! Krach ! Hagelwetter-

schlag !
Wo das sitzt, da wachst

nichts nach! —
Keilt euch wacker,
haut die Racker!
Haltet selbst Gesellen Stand;
wer da wich, 's war wahrlich

Schand'!
Drauf und dran!
Wie ein Mann
steh'n wir alle zur Keilerei!

Gesellen.

Heda! Gesellen 'ran!

Dort wird mit Streit und Zank

gethan
Da giebt's gewiss gleich Schla-

gerei ;
Gesellen, haltet euch dabei!
's sind die Weber und Gerber!
Dacht' ich's doch gleich! —
Die Preisverderber!
Spielen immer Streich' 1
Dort den Metzger Klaus,
den kennt man heraus! —

Ziinfte! Ziinfte!
Ziinfte heraus !

— 71 —

Facsimile-Edition.
Schneider mit dem Biigel!
Hei, hier setzt's Priigel!
Giirtler! — Zinngiesser! —
Leimsieder! — Lichtgiesser ! —
Tuchscherer her!
Leinweber her!
Hierher! hierher!
Immer mehr! Immer mehr!

Die Nac

Second Printed Edition.
Schneider mit dem Biigel!
Hei, hie setzt's Priigel!
Giirtler! — Zinngiesser! —
Leimsieder! —Lichtgiesser! —
Tuchscherer her!
Leinweber her!
Hieher ! Hieher !
Immer mehr! Immer mehr!
Nun tiichtig drauf! Wir

schlagen los!
jetzt wird die Keilerei erst

gross! —
Lauft heim, sonst kriegt ihr's

von der Frau;
hier giebt's nur Priigel-

Farbeblau !
Immer 'ran!
Mann fiir Mann I
Schlagt sie nieder!
Ztinfte ! Ziinfte ! Heraus ! —

Die Meister.
Was giebt's denn fiir Zank

und Streit?
Das tos't ja weit und breit!
Gebt Ruh' und scheer' sich

Jeder heim,
sonst schlag' ein Hageldonner-

wetter drein !
Stemmt euch hier nicht mehr

zu Hauf ,
oder sonst wir schlagen drauf.
hbarinnen.

Was ist denn da fiir Streit

und Zank?
's wird einem wahrlich angst

und bang!

- 72 -

Facsimile-Edition.

He da! dort unten!

Seid doch gescheit!

Seid ihr gleich Alle

zum Streite bereit?

Was fiir ein Zanken und

Toben !
Da werden schon Arme er-

hoben.
Hort doch! Hort doch!
Seid ihr denn toll?
Sind euch die Kopfe
von Weine noch voll?
Zu Hulfe! Zu Hiilfe!
Da schlagt sich mein Mann
Der Vater! Der Vater!
Sieht man das an !
Christian! Peter!
Niklaus! Hans!
Auf! schreit Zeter!
Horst du nicht, Franz?
Gott! wie sie walken!
's wackeln die Zopfe!
Wasser her! Wasser her!
Giesst's ihn' auf die Kopfe!

Second Printed Edition.
Da ist mein Mann gewiss

dabei,
gewiss kommt's noch zur

Schlagerei !
He da! Ihr dort unten
so seid doch nur gescheit!
Seid ihr zu Streit und Raufen
gleich Alle so bereit?
Was fur ein Zanken tind

Toben !
Da werden schon Arme er-

hoben !
Hort doch! Hort doch!
Seid ihr denn toll?
Sind euch die Kopfe
vom Weine noch voll?
Zu Hilfe! Zu Hilfe!
Da schlagt sich mein Mann!
Der Vater! Der Vater!
Sieht man das an?
Christian! Peter!
Niklaus! Hans!
Auf! Schreit Zeter !
Horst du nicht, Franz?
Gott, wie sie walken!
's wackeln die Zopfe!
Wasser her! Wasser her!
Giesst's ihn' auf die Kopfe!

Magdalen a.
Ach Himmel ! Meine Noth ist

gross !
David! So hor mich doch

nur an!
So lass' doch nur den Herren

los!
Er hat mir ja riichts gethan."

73 —

Facsimile-Edition.
53a. ,Hatt' ich nur Wurst und
Kuchen fort!"

54. „an der Pegnitz is der

Hans"
54. „Wahn und Wahn!"
56. ,Gott weiss, wie das ge-

schah ?
Ein Kobold half wohl da?
Der Flieder war's: Johannis-

nacht,
drob ist der Wahn so leicht

erwacht.
Ein Gliihwurm fand sein

Weibchen nicht;
der hat den Schaden ange-

richf :
angstlich suchend flog er da-

hin
durch manches miide Men-

schenhirn ;
dam knistert's nun. wie Funk

und Feuer,
die Welt steht dem in Brand

Second Printed Edition.

231. „Hatt' ich nur die Wurst
und den Kuchen fort!" —

232. „(Er hat in der Zerstreung die
Worte der Melodie von Beckmesser's
Werbelied aus dem vorausgehenden
Aufzuge gesungen; Sachs macht eine
verwunderte Bewegung, worauf David

sich unterbricht.)

Verzeiht, Meister; ich ksim

in's Gewirr';
Der Polterabend machte mich

irr'.

(Er fahrt nun in der richtigen Melodie
fort):
Am Jordan Sankt Johannes

stand"
232. ,an der Pegnitz hiess der

Hans."
233- „Wahn! Wahn!"

„und will's der Wahn ge-

seg'nen,
nun muss es Priigel regnen,
mit Hieben, Stoss und Dre-

schen,
den Wuthesbrand zu loschen.
Gott weiss, wie das geschah ? —
Ein Kobold half wohl da!
Ein Gliihwurm fand sein

Weibchen nicht;
der hat den Schaden ange-

richt'. —
Der Flieder war's : — Johan-

nisnacht. —
Nun aber kam Johannis-

Tag: —
jetzt schau'n wir, wie Hans

Sachs es macht

- 74

Facsimile-Edition,
das Herz erwacht dem Un-

geheuer,
und weckt mit Pochen die

Hand;
die ballt sich schnell zur Faust,
den Kniippel die gem utn-

spannt ;
mit Faust und Kniippel da

saus't,
wer gem als tapfer bekannt:
und will's der Wahn gesegnen,
nun muss es Priigel regnen,
mit Hieben, Stoss' und Dre-

schen,
den Wuthesbrand zu loschen.
Ein Koboldwahn. — Johan-

nisnacht! —
Nun aber, kam Johannis-Tag :
jetzt schau'n wir, wie Hans

Sachs es macht,
dass er den Wahn fein lenken

kann' ')
58. „Steh'n sie nun so in hohem

Ruf"

Second Printed Edition,
dass er den Wahn fein lenken
mag'

237. ,Steh'n sie nun in so hohem
Ruf."

WALTHER'S DREAM-SONG.

59. ,Fem

meiner Jugend gold'nem

Thoren
zog ich einst aus,
in Betrachtung ganz verloren :
vSterlich Haus,

239. „Morgenlich leuchtend in
rosigem Schein,
von Bliith' und Duft '
geschwellt die Luft,
voU aller Wonnen
nie ersonnen

i) This is a judicious omission. The figure in the Facsimile is carried
out too far to accord with our literary taste, to say the least, and it is
certainly too complex to be followed in singing.

75 —

Facsimile-Edition,
kindliche Wiege,
lebet wohl ! ich eil', ich fliege
einer neuen Welt nun zu
Stern

meiner einsam trauten Nachte
leuchte mir klar,
dass mein Pfad zum Gliick

mich brachte,
miitterlich wahr
helle mein Auge
dass es treu zu finden tauge
was mein Herz erfiill' mit

Ruh'
60. Abendlich

sank die Sonne nieder:

goldene Wagen

auf den Bergen reihten sich;

Thiirme und Bogen

Hausser, Strassen breiten sich ;

durch die Thore zog icli ein,

diinkte mich

ich erkenn' sie wieder;

auch der alte Flieder

lud mich ein sein Gast zu sein ;

auf die miiden Glieder

labendlich

goss er Schlaf mir aus, —

gleich wie im Vaterhaus —

Ob ich die Nacht

doch wohl getraumt hab', ob

gewacht?

Second Printed Edition,
ein Garten lud mich ein
Gast ihm zu sein.
Wonnig entragend dem selbi-

gen Raum
bot gold'ner Frucht
heilsaft'ge Wucht
mit holdem Prangen
dem Verlangen
an duft'ger Zweige Saum
herrlich ein Baum.

Sei euch vertraut

welch' hehres Wunder mir

gescheh'n :
an meiner Seite stand ein

Weib,
so schon und hold ich nie

geseh'n,
gleich einer Braut
umfasste sie sanft meinen

Leib;
mit Augen winkend,
die Hand wies blinkend,
was ich verlangend begehrt,
die Frucht so hold und werth
vom Lebensbaurn.

Traum

meiner thorig gold'ne|i Jugend,

wurdest du wach

durch der Mutter zarteTugend?

Abendlich gliihend in himm-

lischer Pracht
verschied der Tag,
wie dort ich lag;

76

Facsimile-Edition,
winkt sie mir nach,
folg' ich und fliege
iiber Stadt und Lander herein

zur Wiege,
wo mein die Traute harrt.
Kaum

dass icii nah zu sein ihrglaube,
blendend und weiss
schwebte sie auf als zarte

Taube,
pfliickt dort ein Reis,
ob meinem Haubte
halt sie's kreisend, dass ich's

raubte
in holder Gegenwart.
Morgenlicht
dammert da wieder
scherzend und spielend
Taubchen immer ferner wich
fliegend und zielend
zu den Thiirmen lockt es'

mich;
flatternd iiber Hauser bin
setzte sich

auf dem Haus, dem Flieder
gegeniiber, nieder,
dass ich dort das Reis gewinn ;
und den Preis der Lieder.
Morgenlich

hab' ich das getraumt;
nun sagt mir ungesaumt,
was wohl am Tag
das holde Traum bedeuten

mag?

6i. Freund! cure Mutter rieth
euch wahr.

Second Printed Edition,
aus ihren Augen
Wonne zu saugen,
Verlangen einz'ger Macht
in mir nur wacht. —

Nachtlich umdammernd der

Blick sich mir bricht;
wie weit so nah'
beschienen da
zwei lichte Sterne
aus der Feme

durch schlanke Zweige Licht
hehr mein Gesicht.

Lieblich ein Quell

auf stiller Hohe dort mir

rauscht ;
jetzt schwillt er an sein hold

Geton'
so siiss und stark ich's nie

erlauscht :
leuchtend und hell
wie strahlen die Sterne da

schon :
zum Tanz und Reigen
in Laub und Zweigen
der gold'nen sammeln sich

mehr,
statt Frucht ein Sternenheer
im Lorbeerbaum. • —

241. Freund, eu'r Traumbild
wies euch wahr;

77

Facsimile-Edition.
6 1. Tag,

den ich kaum gewagt zu

traumen,
brachst du mir an
in der Freundschaft [Freiheit]

trauten Raumen?
1st es kein Wahn?
Sie, die ich liebe
die das Herz mir schwellt

mit siissem Triebe,
sie steht vol! [im] Glanz vor

mir?
Sag'

ist es nicht die weisse Taube,
lieblich und treu,
wie der Jugend holder Glaube?
Ihr ohne Reu'
ganz mich zu geben
ihr zu weihen mein [all] Gliick,

mein [all] Heil, mein [und]

Leben
wie, Mutter, dankt' ich's dir?
Sonniglich

will sie mir erglanzen:
nachtliche Schleier
decken mehr die Augen nicht;
heller und freier
sah' ich nie ein Angesicht:
ob dem Haupte ihr schwebt

ein Reis;
ob sie das bricht
von dem Zweig des Lenzen
huldvoU ohne Grenzen
mir die Stirn' um Sanges-

Preis
hold damit zu krSnzen?

Second Printed Edition.
252. Weilten die Sterne im lieb-
lichen Tanz?
So licht und klar
im Lockenhaar,
vor alien Frauen
hehr zu schauen,
lag ihr mit zartem Glanz
ein Sternenkranz. —

Wunder ob Wunder nun

bieten sich dar:
zwiefacher Tag
ich griissen mag"
denn gleich zwei'n Sonnen
reinster Wonnen
der hehrsten Augen Paar
nahm ich nun wahr.

Huldreichstes Bild,

dem ich zu nahen mich er-

kiihnt :
den Kranz, von zweier Sonnen

Strahl
zugleich verblichen und er-

griint,
minnig und mild
sie flocht ihn um's Haupt

dem Gemahl.
Dort Huld-geboren
Nun Ruhm-erkoren
giesst paradiesisches Lust

- 78

Facsimile-Edition.
Wonniglich

schonster Lebenstraum !
des Paradieses Baum,
reichst du dies Reis,
wohl unversehrt ich bliihen

weiss'"
68. „Lausch', Kind! das war

ein Meisterlied."
[Do not occur]

73. „Der Muth hat und Ver-
stand"
[Do not occur]

Second Printed Edition,
sie in des Dichter's Brust
im Liebestraum." —

252. ,Lausch', Kind! das ist

ein Meisterlied."
251. ,Wacli oder traum ich
schon so friih?
Das zu erklaren macht mir
Muh'."
258. ,Der viel Muth hat und

"Ver stand.'
262. „Gott! ist der dumm!
Er fallt fast um! —
Still ! macht keinen Witz :
der hat im Rathe Stimm' und
Sitz."

BECKMESSER'S PARODY.

76. Fern

meiner Tugend gold'nen

Thoren
bog ich einst aus
in Verachtung ganz verloren:
Vater im Haus,
Kind in der Wiege!
lebet wohl, denn eilig pfliige
ich mein neues Feld nun zu.

Sonderbar! Hort ihr's? Wo

will das 'naus?
Er bog voU Verachtung der

Tugend aus?

263. Morgen ich leuchte im
rosigem Schein
vol! Blut und Duft
geht schnell die Luft', —
wohl bald gewonnen,
wie zerronnen, —
im Garten lud ich ein —
garstig und fein.

Sonderbar! Hort ihr's? Wen

lud er ein?
Verstand man recht? Wie

kann das sein?

79

Facsimile-Edition.

Second Printed Edition.

Beckmesser.

Beckmesser.

Gern

Wohn ich ertraglich itn sel-

auf der heilsam kraut'nen

bigen Rautti, —

Flache

hoi' Gold und Frucht —

deuchte tnir dar

Bleisaft und Wucht: —

dass mein Pferd 's Genick

mich holt am Pranger,

mir brSche;

der Verlanger, —

bitterlich gar

auf luft'ger Steige kaum —

gellte mein Auge,

hang' ich am Baum.

dass wie Brei es nimtnt und

Lauge,

und viel Schmerz ich fiillt'

ohn^ Ruh'!

Schoner Werber! der diinkt

Schoner Werber! Der find't

mich was werth!

seinen Lohn:

Bald fallt er wohl auch hier

bald hangt er am Galgen;

vom Pferd.

man sieht ihn schon.

Habe Dich!

Heimlich mir graut —

klang Gesumme wieder:

weil hier es munter will her-

goldene Wagen

geh'n: —

auf den Bergen ritten sie;

an meiner Leiter stand ein

Wiirste und Magen

Weib.

auf den Hausern brieten sie :

sie schamt Und wollt' mich

und mich Thoren zog man

nicht beseh'n.

ein

Bleich wie eih Kraut —

tiinchte mich;

umfasert mir Hanf meinen

ach! ich brenne nieder!

Leib; -

Brau't mir kalten Flieder!"

Die Augen zwinkend —

der Hund blies winkend —

was ich vor langem ver-

zehrt, —

wie Frucht, so Holz und

Pferd —

vom Leberbalim.

— 8o -.

Facsimile-Edition.
80i „doch wohlgelungen auch
dieser Bar."

Second Printed Edition.
268. „ doch wobl gereimt und
singebar. "

SACHS' CLOSING SPEECH.

82. Verliebt und sangevoll, wie

ihr
kommen nicht oft uns Junker

hier
von ihren Burgen und Staufen
nach Niirnberg hergelaufen :
vor ihrer Lieb' und Fang-

Begier
das Volk oft mussten schaaren

wir :
und findet sich das in Haufen
gewohnt sich's leicht an

Raufen :
Gewerke, Gilden und Ziinfte
batten iible Zusammenkiinfte
(wie sich's auf gewissen

Gassen
noch neulich hat merken

lassen !)
In der Meister-Singer trauten

Zunft
kamen die Ziinfte immer wie-

der zur Vernunft
Dicht und fest
an ihr so leicht sich nicht

riitteln ISsst;
aufgespart
ist euren Enkeln, was sie be-

wahrt.
Welkt mancher Sitt' und

mancher Brauch,

Habt Acht! Uns drohen iible

Streich' : —
zerfallt erst deutsches Volk

und Reich
in falscher wSlscher MajestSt
kein Fiirst bald mehr sein

Volk versteht :

8i

Facsimile-Edition,
zerfailt in Schutt, vergeht in

Ranch, —
Lasst ab vom Kampf!
nicht Donnerbiichs' noch Pul-

verdampf
macht wieder dicht, was nur

noch Hauch!
Ehrt cure deutschen Meister"

u. s. w.

Second Printed Edition,
und walschen Dunst mit wal-

schem Tand
sie pflanzen uns in's deutsche

Land.
Was deutsch und acht wiisst'

Keiner mehr,
Lebt's nicht in deutscher

Meister Ehr'.
Drum sag' ich euch
ehrt cure deutschen Meister*

u. s. w.

The disparity between the two texts is striking.

The Street-fight has been made longer and more vivacious.
The superiority of the new dream-song to the older one is also
obvious. The older one is artificial in style and trivial in con-
ception, displaying very little of the originality and elasticity of
Wagner's genius. The same improvement is to be noticed in
Beckmesser's song. In the Fac-simile the parody is a little too
not for the ordinary German comic opera, but for

crass

comic opera which aspires at the same time to be grand opera.
One of the most essential improvements is however the variation
of the Dream-song in its second rendition. In the Fac-simile,
the song sung on the meadow differs from the one composed in
the work-shop only by a few unimportant words.^) The version
given in the printed edition is quite changed, thus relieving the
almost unpardonable error of repeating a song of three long
strophes word for word in the same act. There is one echo of
the original Dream-song still in the printed edition, i. e., where
Hans Sachs says (VII, 242) :

,ein Taubchen zeigt' ihm wohl das Nest,"
an allusion which is only recognized in the light of the Facsimile.

II. THE TEXT OF THE SCORE.

Another text which offers room for comparison is that of

i) These words are indicated by brackets.
Bo wen, Wagner's Meistersinger.

— 82 —

the score. The orchestration of the ^Mastersingers" was finished
by Wagner in Triebchen, near Lucerne, on the 17th of March,
1867.^) ■'^s fast as the score was complete, he sent it to his
friend Hans von Biilow, who wrote the piano-score for it. The
text of this score ^) holds a middle position between that of the
Fac-simile and of the printed edition. It repeats unchanged
many lines of the Fac-simile, which are changed in the standard
text. But there are other changes which occur for the sake of
the euphony of the music alone. Many of these are trifling
changes in order, e. g. :

Score-text.
57. , dass Meistersingef ich heiss "
67. „so musste ich wohl sinnen'
75. ,drum mocht' es euch"

In other places there are
music, as :

369. „Wie? Schon! Dieser Un-
sinns-wust ? "

158.

172.

175-

omissions

Printed Text.
„dass ich Meistersinger
heiss,"

„so musst' ich fleizig
sinnen."
,D'rum mocht's euch nie'

for the sake of the

265. ,Wie? Schon dieses Lied,
der Unsinns-Wust?

In the music the two words „Wie? Schon" are prolonged so
that they take as much time as would the longer „Wie? Schon
dieses Lied?"

Furthermore, there are a few absolute changes of the metre,
in all cases from a more crowded to a more liesurely time. e. g.

76. ,Wie waredann der Meister

Urteil frei?"
150. „Damit ich dir die zieren

173. „wie war' dann der Meister

Urtheil frei?"
199. „damit ich die zieren Schuh'

dir gefasst."

the score, i. e. of the lines

Schuh' gefasst"

There is one omission in
(VII, 179):

,Meint, Junker, hier in Sang' und Dicht'
euch rechtlich unterwiesen,

i) Glasenapp, II, 182 ff.

2) „Die Meistersinger. Klavierauszug von Tausig."

83 -

und woUt' ihr, dass in Zunftgericht
zum Meister wir euch kiesen."
On the other hand, it contains two lines not in the printed
text, e. g.

Score-text,
no. ,Ortel. — Nichts weiter !

Zum Schluss!"
269. Eva. .Keiner wie du so

hold zu werben weiss."

Printed Text.
187. [Does not occur.]

269. [Does not occur.]

The stage-directions are also much fuller in the score-edition
than in the printed text, but the principal difference is in the
Street-fight, which corresponds to no other version.

213.
314-

.Verfluchter Bursch!'

giebt

( Schlagerei

I Keilerei "
214. ,Ihr da, lasst los!
215 ff. Magdalene.

David! bist du toll?

Himmel! welche Noth!

Hor doch nur, David!

So lass doch nur den Herren
los!

Er hat mir nichts gethan.

So hor mich doch nur an!

Ach welche Noth!

David! So hor doch nur ein-
mal!

Herr Gott! Er halt ihn noch!

Mein! David! ist er toll?

Ach! Ach! David, hor'!

's ist Herr Heckmesser!
Die Nachbarn.

Esell Dummrian!

Wird euch wohl bange?

Hat euch die Frau gehetzt?

Das fiir die Klagel

224. ,Verfluchter Kerl!"
224. ,'s giebt Priigelei!"

224. ,Ihr da! Auseinander 1 "
225 ff. Magdalene. —
David! Beckmesser!

Ach Himmel ! Meine Noth ist

gross !
David! so hor mich doch

nur an!
So lass' doch nur den Herren

los!
Er hat mir ja nichts gethan!

225. Die Nachbarn. —
Euch gonnt ich's schon lange I
Wird euch wohl bange?
Das fiir die Klage! —
Seht euch vor, wenn ich schlage !
6*

- 84

Score-text.
Schaut wie es Priigel setzt!
Liimtnel! Grobian!
Seht euch vor, wenn ich

schlage !
Seid ihr noch nicht gewitzt?
Nun schlagt doch! Das

sitzt !
Dass dich! Hallunke!
Gleich ein Donnerwetter trafe!
Wartet, ihr Racker!
Maassabzwacker !
Euch gonnt' ich's lang !
Racker! Zwacker!
Wird euch bang?
Wollt ihr noch mehr?
Packt euch Jetzt heim,
sonst kriegt ihr's von der Frau!
Geht's euch was an, wenn

ich nicht will?
Auf, scheert euch heim!
So gut wie ihr, bin Meister

ich!
Schickt die Gesellen heim !
Dummer Kerl ! Haltet's Maul !
Schlagt sie nieder! Wir

weichen nicht!
Tuchscherer! Leinweber!

Immer 'ran !
Stemmt euch hier nicht mehr

zu Hauf !
Wacker zu ! Immer d'rauf 1
Scheert euch heim
Oder sonst wir schlagen

drein.
Ziinfte! Ziinfte! Ziinfte her-

aus!

Printed Text.
Hat euch die Frau gehetzt?
Schau' wie es Priigel setzt ! —
Seid ihr noch nicht gewitzt ? —
So schlagt doch! — Das

sitzt! —
Dass dich! Hallunke! —
Hie Farbertunke! —
Wartet, ihr Racker! —
Ihr Maassabzwacker! —
Esel ! — Dummrian ! —
Du Grobian! —
Liimmel du ! —
Drauf und zu ! —

- 85 -

Score-text.
Lehrbuben. ,
Herbeit Herbei! 's giebt

Keilerei !
Sind die Schuster!
Nein, sind die Schneider!
Die Trunkenbolde !
Die Hungerleider !
Kennt man die Sciilosser

niciit?
Sie haben's sicher angericht' !
Ich glaub', die Schmiede

werden's sein!
Ich kenn' die Schreiner dort !
Gewiss die Meizger sind's !
Hei! Schaut die Schaffler

dort beim Tanz!
Dort seh die Bader ich im

Glanz !
Kramer finden sich zur Hand
mit Gerstenstang' und Zucker-

kand,
mit Pfeffer, Zimmt, Muscaten-

nuss.
Sie riechen schon, und machen

viel Verdruss!
Sie riechen schon und bleiben

gern vom Schuss !
Meinst du damit etwa mich!
Halt's Maul!

Mein ich damit etwa dich?
Das sitzt!

Seht nur, der Has'! —
Hat uberall die Nas'! —
Immer heran!
Hei ! Nun geht's ! Plautz ! hast

du nicht geseh'n?

Printed Text.
222. Lehrbuben.

Kennt man die Schlosser nicht?

Die haben's sicher ange-
richt'! —

Ich glaub' die Schmiede wer-
den's sein. —

Die Schreiner seh' ich dort
beim Schein. —

Hei ! Schau die Schaffler dort
beim Tanz. —

Dort seh die Bader ich im
Glanz. —

Kramer finden sich zur Hand

mit Gesterstang' und Zucker-
kand;

mit Pfeffer, Zimmt, Muscaten-
nuss.

Sie riechen schon,

sie riechen schon,

doch haben viel Verdruss,

und bleiben gern vomSchuss. —

Seht nur, der Hase

Hat ub'rall die Nase! —

Mein'st du damit eiwa mich?

Mein' ich damit etwa dich?

Da hast's auf die Schnauze ! —

Herr, jetzt setzt's Plautze ! —

Hei ! Krach 1 Hagelwetter-
schlag !

Wo das sitzt, da wachst
nichts nach!

Keilt euch wacker;

haut die Racker!

Haltet selbst Gesellen Stand;

wer da wich', 's war wahr-
lich Schand'!

- 86 -

Score- text.
Ha! nun geht's! Krach!

Hageldonnerwetterschlag !
Wo es sitzt, da wachst nichts

sobald nach.
Der hat's gekriegt!
Jetzt fahrt's hinein, wie Hagel-

schlag !
Bald setzt es blut'ge Kopf ,

Arm' und Bein'!
Dort der Pfister denkt daran!
Der hat's genug! Scbeer sich

jeder heim
Der nicht mit keilt!
Immer lustig! keilt euch

wacker !
Haltet selbst Gesellen mutig

Stand!
Wer wich', 's wMr' wahrlich

eine Schand
Nicht gewichen ! Wacker drauf

und d'ran!
Wir stehen AUe wie ein

Mann!

Gesellen. —
Heda ! Gesellen 'ran !
Dort wird mit Zank und Streit

gethan !
Da giebt's gewiss noch Schla-

gerei !
Gesellen! haltet euch dabei!
'Sind die Weber!
'Sind die Gerber!
Die Preisverderber !
Dacht' ich mir's doch gleich !
Spielen immer Streich!
Gebt's denen scharf!

Printed Text.
Drauf und dran!
Wie ein Mann
steh'n wir alle zur Keilerei!

226. Gesellen.

Heda! Gesellen 'ran!
Dort wird mit Streit und Zank

gethan.
Da gibt's gewiss gleich SchlS-

gerei;
Gesellen, haltet euch dabei!
's sind die Weber und

Gerber! —
Dacht' ich's doch gleich! —
Die Preisverderber!
Spielen immer Streich'! —
Dort den Metzger Klaus,

87 -

Score-text.
Dort den Metzger Klaus
kenn' ich heraus!
'S ist morgen der Fiinfte!
'S brennt Manchem im Haus !
Hei! Hier setzt's Priigel.
Schneider mit dem Biigel!
Ziinfte heraus!
Ihr da macht! Packt euch

fort!
Wir sind hier g'rad am Ort!
WoUtet ihr etwa den Weg

uns hier verwehren?
Macht Platz, wir schlagen

drein !
Giirtler! Spangler!
Zinngiesser! Leimsieder!
Lichtsieder !
Nicht gewichen ! Schlagt sie

nieder !
Tuchscherer ! Leinweber !

Immer 'ran!
Wir schlagen herein!
Ziinfte d'rauf und dran!
Zunfte! Ziinfte heraus!

Die Meister.
Was giebt's denn da fur Zank

und Streit?
Das tos't ja weit und breit!
Gebt Ruh' und scheert euch

jedergleich nachHause heim,
sonst schlag' ein Hageldonner-

wetter drein!
Gebt Ruh' und scheer sich

Jeder heim,
sonst schlagen wir Meister

selbst noch drein.

Printed Text.

den kennt man heraus! —

Schneider mit dem Biigel!

Hei, hie setzt's Priigel!

Giirtler! — Zinngiesser! —

Leimsieder! — Licht-
giesser! —

Tuchscherer her! —

Leinweber her! —

Hieher! Hieher!

Immer mehr! Immer mehr!

Nur tiichtig drauf ! Wir schla-
gen los:

jetzt wird die Keilerei erst
gross ! —

Lauft heim, sonst kriegt ihr's
von der Frau;

hier giebt's nur Priigel-Farbe-
blau !

Immer 'ran !

Mann fiir Mann !

Schlagt sie nieder!

Ziinfte ! Ziinfte ! Heraus ! —

221. Die Meister. —
Was giebt's denn da fiir Zank

und Streit?
Das tos't ja weit und breit !
Gebt Ruh' und scheer' sich

Jeder heim,
sonst schlag' ein Hageldonner-

wetter drein!
Stemmt euch hier nicht mehr

zu Hauf,
oder sonst wir schlagen

d'rauf. —

88 -

Score- text.
Die Nachbarinnen.
Was ist das fiir Zanken und

Streit?
Da giebt's gewiss noch SchlS-

gerei !
War' nur derVater nicht dabei !
Da ist mein Mann gewiss

dabei.
Ach, welche Noth!
Mein! seht nur dort!
's wird einem wahrlich Angst

und bang!
Ei hort! Was will die Alte da?
Heda! Ihr dort unten!
so seid nur gescheit!
Seid ihr denn Alle gleich
zu Streit und Zank bereit?
Mein! Dort schlagt sich mein

Mann!
Sind die Kopfe von Wein

euch voU?
Ach Gott! Sah' ich nur

meinen Hans!
Seht dort den Christian!
er walkt den Peter ab.
Mein! dort den Michel seht!
der haut dem Stefifen eins!
Der Vater! der Vater!
Sie hauen ihn todt!
Peter! so hore doch!
Jesus! der Hans hat einen

Hieb am Kopf.
Gott steh' uns bei, geht das

noch lange hier so fort
Hei! Mein Mann schlagt

wacker auf sie drein!

Printed Text.
221. Die Nachbarinnen. —
Was ist denn da fur Streit

und Zank?
's wird einem wahrlich Angst

und bang!
Da ist mein Mann gewiss

dabei :
gewiss kommt's noch zur

Schlagerei !
Heda! Ihr dort unten,
so seid doch nur gescheit !
Seid ihr zu Streit und Raufen
gleich alle so bereit!
Was fiir ein Zanken und

Toben !
Da werden schon Arme er-

hoben !
Hort doch! Hort doch!
Sei ihr denn toll?
Sind euch die Kopfe
vom Weine noch volll
Zu Hilfe! Zu Hilfe!
Da schlagt sich mein Mann!
Der Vater! der Vater!
Sieht man das an?
Christian! Peter!
Niklaus! Hans!
Auf! Schreit Zeter! —
Horst du nicht, Franz?
Gott, wie sie walken!
's wackeln die Zopfe!
Wasser her! Wasser her!
Giesst's ihn auf die Kopfe!

- 89 -

Score-text.
Gott! welche Hollennoth!
Hort Keiner mehr sein Wort !
Die Kopf und Zopfe wackeln

hin und her!
Welches Toben ! Welches

Krachen !
So hort doch! Auf! schafft

Wasser her!
Wasser! Wasser! Wasser

her!
Da giesst's auf die Kopf

hinab !
Wasser ist das AUerbeste fiir

ihre Wuth!
Auf! schreit zu Hilfe!
Mord und Zeter herbei!
Topf und Hafen!
Krug und Kanne! AUes voll,
und giesst's ihn' auf den

Kopf!"

Printed Text.

CONCLUSION.

In conclusion we turn to a brief study of the language itself.
As far as is consistent with modern demands, Wagner has tried
to approach, both in metre and in vocabulary, the type of literary
work of the time of which he writes, as represented by Hans
Sachs. He has thus availed himself very largely of the „Knittel-
vers", a doggerel in which the bulk of Sachs' works are written,
and which is familiar to modern ears through , Faust*. This
verse is made still more effective by frequent ellipsis of inflectional
endings and of prefixes, a device quite in line with Sachs' style.
Take as examples :

(VII, 197) „bin gar ein arm einfSltig Mann."
(VII, 201) „Hab' heut' manch' Sorg' und Wirr' erlebt."
(VII, 266) „dass sie auch 'mal 'ne Ausnahm' vertragt."
A few old inflectional forms are introduced, which give an
archaic flavor. Such are :

Femine Genitive and Dative singular in — en, e.g.
(VII, 184) ,zu meiner Frauen Preis."
(VII, 216) ,zur Gassen."
(VII, 252) ^reinster Wonnen."
(VII, 268) „am lichten Tag der Sonnen."
Dative Plurals in — en, e. g.
(VII, 240) „Kinden."
(VII, 234) .Gemiithen."
Older conjugational forms are ,erkiest" (VII, 218), and
.genennt" (VII, 161). The latter is a provincial south German
form. „Schuf" occurs always as the preterite of ^schaffen" in
the .Mastersingers'.^)

i) von Wolzogen: „Die Sprache m R. Wagner's Dichtungen", 90.

- 91 —

Wagner also prefers the older endings. .Melodic" is always
written ,Melodei" in this text, and occasionally we have the
ending — nuss for the later — n is, as for example in ,Argernuss"
(VII, 224).

.Another characteristic, which is shared, however, by .Tristan",
.Lohengrin", and the .Ring") is the formation of feminines
from verbal stems by the addition of — e, according to the
Midale High German usage. Such forms are .Find'" (VII, 179).
.Dicht" (VII, 179), .Hoff'" (VII, 180), „Richt'« (VII, 181) and
.Wirr'" (VII, 201). The reason is probably a distaste for bringing
the heavier — schaft, — heit, and — ung in verse intended
for singing.

We have also archaic forms without Umlaut, as .spat"
(VII, 203, 234), beruck' (VII, 229), .hochgelahrt" (VII, 187) and
.bass* (VII, 235).

We note also the arbitrary insertion of an e in several
words, as is common in Hans Sachs, for example, .Magdelein"
(VII, 220), .Kindelein" (VII, 222), .liebelich" (VII, 230), .Niiren-
berg" (VII, 235), .singebar" (VII, 238).

These is occasionally an adverb in - e, as. „balde" (VII,
191), .geschwinde' (VII, 207).

There are also several archaic constructions, for example:
(VII, 158) .Das macht, well sein Meister ein Schuster."
This is a very common construction in the sixteenth century,
occurring frequently in Luther, but is now comparatively rare.

(VII, 255) .Morgen voller Sterne."
.This construction occurs now only in the expression, .ein
Himmel voller Geigen". In the first part of Goethe's Faust we
have still an example in his .Himmel voller Sterne".^)

Another construction which Wagner uses freely and which
also often occurs in .Faust* is that of a genitive absolute instead
of a prepositional construction. Examples are :
(VII, 158) .Mein Herz, sel'ger Gluth."
(VII, 234) ,wie friedsam, treuer Sitten."

i) von Wolzogen, 93 f.

2) Goethe: .Werke, Weimar- Ausgabe", XIV, 186.

— 92 —

(VII, 241) ,Verlangen, einziger Macht."

(VII, 261) „einer Quelle edler Welle."
This construction is prone to occur in lyric parts of the drama.
There is quite a list of words which are either obsolete, or
obsolete in the sense in which Wagner uses them. Of these
may be mentioned:

(VII, 153) „Held'' in the general sense of man.

(VII, 181) ,zweenen."

(VII, 190) .Recke."

(VII, 218) „Beding.''

(VII, 222) „Vergunst", „gewunst".

(VII, 223) .blusen' (= ,bluhen").

(VII, 229) ,eilfe«.

(VII, 229) ,Jungfer" (in address obsolete. Wagner, gives
on page 193 the form „Jumbfer", philologically more correct than
the usual form).

Forms which are dialectic in South German are:

(VII, 235) „Gruss Gott."

(VII, 192) .Schatzel."

(VII, 174) .Ade.»

(VII, 166) „Geflunker.«

(VII, 156) „Mein sagt!"

(VII, 216) ,Schmierich."

(VII, 234) „Schmerz-Gekreisch."
„ Ohrgeschinder " (VII, 185), ,Geschlamb und Geschlumbfer"
(VII, 193) are . dialectical neologisms of Wagner's own. Words
similar to these occur in Bavarian, but not these exact forms.

Riming couplets and alliterative couplets, both so characteristic
of Hans Sachs' writings, occur frequently, for example:
(Riming Couplets.)

CVII, 157) ,Gut und Blut."

(VII, 172) ,geh' und steh'."

(VII, 254) ,Lug und Trug."

(Alliterative Couplets.)

(VII, 153) .Kiich' und Keller."
(VII, 153) ,Schrein und Schrank."
(VII, 168) ,Nenn' und Nam'.«

- 93 -

(VII, 1 7 1) „Kling und Klang'."

(VII, 189) ,Flug und Flucht."

(VII, 196) „ still und stumm."

(VII, 213) .Schuh' und Stiefeln."

(VII, 218) „glatt und gut."

(VII, 253) ,Topf und Tellern."
Alliteration outside of these couplets is very marked in this text,
as in all of Wagner's later librettos. A so common device needs
however no examples.

The uncouth and false rimes are very cleverly made to
indicate the archaic and dialectic coloring of the poem. In Sachs
are to be found just such rude rimes as :

(VII, 223) „heut' gern: hungern."

(VII, 264) „ Singer: tiberspring' er.°

(VII, 164) .Junker: Sprung er.'

(VII, 185) „Ohrgeschinder: dahinter."

(VII,. 198) „konnt' er's : besonders."
Other rimes indicate the dialectical pronunciation of vowels
and consonants, as :

(VII, 157) „Kuch: dich."

(VII, 164) ,Heut': freit."

(VII, 88) „Melodei: Mischgebrau. "

(VII, 234) „Dreschen: loschenl

(VII, 191) „neu: Mai."

(VII, 235) „Nurenberg: Werk."

(VII, 268) „bunter: Wunder."

(VII, 267) „Pfad: genaht."
There are also several identical rimes, as:

(VII, 179) „Vogelgesang: Gesang."

(VII, 188) ,Ubermacht: macht."

(VII, 183) „wairt: Allgewallt."

(VII, 248) „Theurer: Abenteurer."
which have likewise their prototypes in Hans Sachs.
The rime wich Wagner introduces so often :
„ Sachs: bliih' und wachs",
is the closing rime of of a great number of Hans Sachs' poems,
and is therefore most characteristic.

- 94 —

The other rime :

,Schuh: Poet dazti"
originated in the well-known rime which was intended to ridicule
Hans Sachs :

.Hans Sachs war ein Schuh-

Macher und Poet dazu."
It is either in ignorance of this origin that Wagner puts it twice
in the mouth of Sachs, or perhaps the cobbler himself good-
humoredly takes up the joke of his enemies.

In spite of these single touches, Wagner was master enough
not to overload his text with peculiarities merely in order to
show that he was familiar with his subject. It is remarkable
how the spirit of Hans Sachs pervades the entire piece, although
in the letter he is almost absent. There is a subtle essence of
the old cobbler-poet diffused throughout Wagner's work which
can only be detected by one who is familiar with both Masters.

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