Tristan has feverishly listened to all these reports, and bids Kurvenal hasten down to bring Ysolde to him; then, left alone, he bursts forth into rapturous praise of the happy day which brings his beloved to him once more, and of the deep love which has called him back from the gates of the tomb. His impatience to see Ysolde soon gets the better of his weakness, however, and he struggles to rise from his couch, although the exertion causes his wounds to bleed afresh. Painfully he staggers half across the stage to meet Ysolde, who appears only in time to hear his last pa.s.sionate utterance of her beloved name, and to catch his dying form in her arms. She does not realise that he has breathed his last, however, and gently tries to woo him back to life, and make him open his eyes. But when all her efforts have failed, and she finds his heart no longer beats beneath her hand, she reproaches him tenderly for leaving her thus alone, and sinks unconscious upon his breast. Kurvenal, standing beside the lovers, speechless with grief, is roused to sudden action by the shepherd's hurried announcement that a second ship has arrived, and that King Mark, Melot, and all his train, are about to appear. Frenzied with grief, and thinking that they have come once more to injure his master, Kurvenal seizes his sword, and, springing to the gate, fights desperately until he has slain Melot, and falls mortally wounded at Tristan's feet.

While the fight is taking place, King Mark and Brangeane, standing without the castle wall, vainly call to him to stay his hand, as they have come with friendly intentions only, and now that he can resist them no longer they all come rushing in. They are horror-struck at the sight of Tristan and Ysolde, both apparently dead; but Brangeane, having discovered that her mistress has only swooned, soon restores her to consciousness. King Mark hastens to a.s.sure Ysolde that she and Tristan are both forgiven; for Brangeane having penitently revealed to him the secret of the love potion which she administered, he realises that they could not but yield to its might. Ysolde, however, pays no heed to his words, but, gazing fixedly at Tristan, she mournfully extols his charms and love, until her heart breaks with grief, and she too sinks lifeless to the ground. No restoratives can now avail to recall the life which has flown forever, and King Mark blesses the corpses of the lovers, and of the faithful servant who has expired at their feet, as the curtain falls.

[Ill.u.s.tration: WALTHER CROWNED BY EVA.]

THE MASTER SINGERS OF NUREMBERG.

When Richard Wagner was only sixteen years of age he read with great enthusiasm one of Hoffmann's novels ent.i.tled 'Sangerkrieg,'

giving a romantic account of the ancient musical contests at the Wartburg in Bavaria. The impression made upon him by this account was first utilised in his opera of 'Tannhauser,' when his attention was attracted also to the picturesque possibilities of the guilds formed by the burghers.

It was not until 1845, however, that he made definite use of this material, and began the sketch for his only comic opera. The first outline was drawn during a sojourn in the Bohemian mountains, when he felt in an unusually light and festive mood. But the work was soon set aside, and was not resumed until 1862, when it was finished in Paris. The score was then begun, and written almost entirely at Biberich on the Rhine, and Wagner himself conducted the overture for the first time at a concert in Leipzig.

This fragment was very well received and there was an 'enthusiastic demand for a repet.i.tion, in which the members of the orchestra took part as much as the audience.' The opera itself, however, was first performed under Von Bulow, in 1868, at Munich. The best singers of the day took the princ.i.p.al parts, and the result of their united efforts was 'a perfect performance; the best that had hitherto been given of any work of the master.'

The opera, at first intended as a comical pendant to 'Tannhauser,' is, as we have already stated, Wagner's first and only attempt to write in the comic vein, and the text is full of witty and cutting allusions to the thick-headed critics (at whose hands Wagner had suffered so sorely), who sweepingly condemn everything that does not conform to their fixed standard. During all the Middle Ages, and more especially in the middle of the thirteenth century, the quaint old city of Nuremberg was the seat of one of the most noted musical guilds, or German training schools for poets and musicians. The members of this fraternity were all burghers, instead of knights like the Minnesingers, and held different ranks according to their degree of proficiency. They were therefore called singers when they had mastered a certain number of tunes; poets when they could compose verses to a given air; and Master Singers when they could write both words and music on an appointed theme.

The musical by-laws of this guild were called 'Tabulatur,'

and every candidate was forced to pa.s.s an examination, seven mistakes being the maximum allowed by the chief examiner, who bore the t.i.tle of Marker.

The opera opens in the interior of St. Catharine's church in Nuremberg, where a closing hymn in honour of St. John is being sung. Eva Pogner and her maid, Magdalena, have been present at the service, and are still standing in their pew. But, in spite of her handmaiden's energetic signs and nudges, the young lady pays but little heed to the closing hymn, and turns all her attention upon a handsome young knight, Walther von Stolzenfels, who, as the last note dies away, presses eagerly forward and enters into conversation with her.

To secure a few moments' private interview Eva sends her maid back to the pew, first for her forgotten kerchief, next for a pin which she has lost, and lastly for her prayer-book. During these temporary absences the deeply enamoured youth implores Eva to tell him whether she is still free, and whether her heart and hand are still at her own disposal. Before the agitated girl can answer, the servant comes up, and, overhearing the question, declares that her mistress's hand has already been promised,--a statement which Eva modifies by adding that her future bridegroom is yet to be chosen. As these contradictory answers greatly puzzle Walther, she hurriedly explains that her father, the wealthiest burgher of the town, wishing to show his veneration for music, has promised his fortune and her hand to a Master Singer, the preference being given to the one who will win the prize on the morrow. The only proviso made is that the girl may remain free if the bridegroom does not win her approval, and Eva timidly confesses that she will either marry Walther or remain single all her life. Magdalena, who has been carrying on a lively flirtation of her own with David, the s.e.xton, now suddenly hurries her young mistress off, bidding the knight apply to David if he would learn any more concerning the musical test about to take place, and in the same breath she promises her lover some choice dainties if he will only do all in his power to enlighten and favour her mistress's suitor.

'Let David supply all The facts of the trial.-- David, my dear, just heed what I say!

You must induce Sir Walther to stay.

The larder I'll sweep, The best for you keep; To-morrow rewards shall fall faster If this young knight is made Master.'

Walther, who has just pa.s.sionately declared to Eva that he knows he could become both poet and musician for her sweet sake, since her father has vowed never to allow her to marry any but a Master, now listens attentively to David's exposition of the school's rules and regulations. In the mean while the apprentices come filing in, prepare the benches and chairs, arrange the Marker's curtained box, and gayly chaff each other as they join in an impromptu dance.

They only subside when Pogner, Eva's father, enters with Beckmesser, an old widower, the Marker of the guild, who flatters himself he can easily win the prize on the morrow, and would fain make Pogner promise that the victor should receive the maiden's hand without her consent being asked. He fears lest the capricious fair one may yet refuse to marry him, and decides to make sure of her by singing a serenade under her window that very night. But when he sees the handsome young candidate step forward and receive the support of Pogner, (who has already made his acquaintance, and who evidently is inclined to favour him,) the widower looks very glum indeed, and vindictively resolves to prevent his entrance into the guild by fair means or by foul.

Hans Sachs, the poet shoemaker of Nuremberg, and all the other members of the guild, having now appeared, Beckmesser calls the roll, and Pogner repeats his offer to give his fortune and daughter to the winner of the prize on the morrow, and charges the guild to select their candidates for the contest. Of course the very first thing to be done is to examine the new candidate. Walther, when questioned concerning his teachers and method, boldly declares he has learned his art from nature alone, chooses love as his theme for a trial song, and bursts forth into an impa.s.sioned and beautiful strain. But as his words and music are strictly original, and therefore cannot be judged by the usual canons, Beckmesser savagely marks down mistake after mistake, and brusquely interrupts the song to declare the singer is 'outsung and outdone.' In proof of this a.s.sertion he exhibits his slate, which is covered with bad marks. Hans Sachs, the only member present who has understood the beauty of this original lay, vainly tries to interfere in Walther's behalf, but his efforts only call forth a rude attack on Beckmesser's part, who advises him to reserve his opinions, stick to his last, and finish the pair of shoes which he has promised him for the morrow. Walther is finally allowed to finish his song, but the prejudiced and intolerant citizens of Nuremberg utterly refuse to receive him in their guild, and he rushes out of the hall in despair, for he has lost his best chance to win the hand of his lady love by competing for the prize on the morrow. His departure is a signal for a tumultuous breaking up of the meeting, the apprentices dancing as before, as soon as their masters have departed.

The second act represents one of the tortuous alleys and a long straight street of the quaint old city of Nuremberg. On one side is Hans Sachs's modest shoemaker's shop, on the other the entrance to Pogner's stately dwelling. It is evening, and David, the shoemaker's apprentice, is leisurely putting up the shutters, when his attention is suddenly attracted by Magdalena, who appears with a basket of dainties. She however refuses to give them to him until he tells her the result of the musical examination. When she hears that Walther has failed and has been refused admittance to the guild, she pettishly s.n.a.t.c.hes the basket from his grasp and flounces off in great displeasure. The other apprentices, who in the mean while have slyly drawn near, now make unmerciful fun of David, who stands stupidly in the middle of the street gazing regretfully after her.

This rough play is soon ended by the appearance of Hans Sachs. He orders all the apprentices to bed, and, by a judicious application of his strap, drives David into the house. Quiet has just been restored once more, when Pogner and Eva come sauntering down the street, returning from their customary evening walk, and sit down side by side on the bench in front of their door.

Here Pogner tries to sound his daughter's feelings, and to discover whether she has any preference among the morrow's candidates, reiterating his decision, however, that he will never allow her to marry any one except a man who has publicly won the t.i.tle of Master Singer. As he cannot ascertain his daughter's feelings, he soon enters the house, while Eva lingers outside watching for Walther's promised visit. She is soon joined by Magdalena, who sorrowfully tells her that Walther has been rejected; but, as she can give no details about the examination, Eva timidly approaches Hans Sachs's window hoping to learn more from him. The cobbler is sitting at work near his window, singing a song of his own composition, and the maiden soon enters into a bantering conversation with her old friend.

In answer to Hans Sachs's questions, she soon confides to him that she cannot endure Beckmesser, and to flatter him into a good humour she archly suggests that, as he too is a widower, he ought to compete for her hand. Hans Sachs, who is far too shrewd not to see through her girlish fencing, now resolves to discover whether she is as indifferent to the young knight, and in order to do so he drops a few careless and contemptuous remarks about him, which drive the young lady away in a very bad temper.

Smiling maliciously at the success of his ruse, the cobbler cheerfully continues his work, while Eva rejoins Magdalena, who informs her that Beckmesser has signified his intention to serenade her that very night. Eva cares naught for the widower's music, and, only intent upon securing a private interview with the handsome young knight, refuses to re-enter the house; so Magdalena leaves her to answer Pogner's call.

A few moments later Walther himself comes slowly down the street; but, in spite of Eva's rapturous welcome, he remains plunged in melancholy, for he has forfeited all hope of winning her on the morrow. The sound of the watchman's horn drives the young people apart, and while Eva vanishes into the house, Walther hides under the shadow of the great linden tree in front of Sachs's house.

His presence has been detected by the shoemaker, who makes no sign, and when the night watchman has gone by, singing the hour and admonishing all good people to go to bed, he perceives a female form glide softly out of the house and join the knight. This female is Eva, who has exchanged garments with Magdalena, and has prevailed upon her to pose at her window during the serenade, while she tries to comfort her beloved.

Crouching in the shade, the lovers now plan to elope that very night, but Hans Sachs overhears their conversation, and when they are about to leave their hiding-place and depart, he flings open his shutter so that a broad beam of light streams across the old street. It makes such a brilliant illumination that it is impossible for any one to pa.s.s unseen. This ruse, which proves such a hindrance to the lovers, is equally distasteful to Beckmesser, who has come down the street and has taken his stand near them to tune his lute and begin his serenade. Before he can utter the first note, Hans Sachs, having become aware of his presence also, and maliciously anxious to defeat his plans, l.u.s.tily entones a noisy ditty about Adam and Eve, hammering his shoes to beat time.

Beckmesser, who has seen Eva's window open, and longs to make himself heard, steps up to the shoemaker's window. In answer to his testy questions why he is at his bench at such an hour, Hans Sachs good-humouredly replies that he must work late to finish the shoes about which he has been twitted in public.

At his wit's end to silence the shoemaker and sing his serenade, Beckmesser artfully pretends that he would like to have Sachs's opinion of the song he intends to sing on the morrow, and proposes to let him hear it then. After a little demur the shoemaker consents, upon condition that he may give a tap with his hammer every time he hears a mistake, and thus carry on the double office of marker and of cobbler.

Beckmesser is, however, so angry and agitated that his song is utterly spoiled, and he makes so many mistakes that the cobbler's hammer keeps up an incessant clatter. These irritating sounds make the singer more nervous still, and he sings so loudly and so badly that he rouses the whole neighbourhood, and heads pop out of every window to bid him be still.

David also ventures to peer forth, and, seeing that the serenade is directed to Magdalena, whom he recognises at the window above, his jealous anger knows no bounds. He springs out of the window, and begins belabouring his unlucky rival with a stout cudgel. The Nuremberg apprentices, who are divided up into numerous rival guilds, and who are always quarrelling, seize this occasion to bandy words, which soon result in bringing them all out into the street, where a free fight takes place between the rival factions of journeymen and apprentices.

Magdalena, seeing her beloved David in peril screams aloud, until Pogner, deceived by her apparel, pulls her into the room and closes the window, declaring he must go and see that all is safe. Sachs, who has closed his shutter at the first sounds of the fight, steals out into the street, approaches the young lovers, and, pretending to take Eva for Magdalena, he thrusts her quickly into Pogner's house, and drags Walther into his own dwelling just as the sound of the approaching night watch is heard. As if by magic the brawlers suddenly disappear, the windows close, the lights are extinguished, and as the watchman turns the corner the street has resumed its wonted peaceful aspect.

The third act opens on the morrow, in Hans Sachs's shop, where the cobbler is absorbed in reading and oblivious of the presence of his apprentice David, who comes sneaking in with a basket which he has just received from Magdalena. Taking advantage of his master's absorption, David examines the ribbons, flowers, cakes, and sausages with which it is stocked, starting guiltily at his master's every movement, and finally seeking to disarm the anger he must feel at the evening's brawl by offering him the gifts he has just received.

Hans Sachs, however, good-naturedly refuses to receive them, and after making his apprentice sing the song for the day he dismisses him to don his festive attire, for he has decided to take him with him to the festival. Left alone, Sachs soliloquises on the follies of mankind, until Walther appears. In reply to his host's polite inquiry how he spent the night, Walther declares he has been visited by a wonderful dream, which he goes on to relate. At the very first words the cobbler discovers that it is part of a beautiful song, conforming to all the Master Singers'

rigid rules, and he hastily jots down the words, bidding the young knight be careful to retain the tune.

As they both leave the room to don their festive apparel, Beckmesser comes limping in. He soon discovers the verses on the bench, and pockets them, intending to subst.i.tute them for his own in the coming contest. Sachs, coming in, denies all intention of taking part in the day's programme, and when Beckmesser jealously asks why he has been inditing a love song if he does not intend to sue for Eva's hand, he discovers the larceny. He, however, good-naturedly allows Beckmesser to retain the copy of verses, and even promises him that he will never claim the authorship of the song, a promise which Beckmesser intends to make use of so as to pa.s.s it off as his own.

Triumphant now and sure of victory, Beckmesser departs as Eva enters in bridal attire. She is of course devoured by curiosity to know what has become of her lover, but, as excuse for her presence, she petulantly complains that her shoe pinches.

Kneeling in front of her, Sachs investigates the matter, greatly puzzled at first by her confused and contradictory statements and by her senseless replies to his questions. He is turning his back to the inner door, through which Walther has also entered the shop, but, soon becoming aware of the cause of her perturbation, he deftly draws the shoe from her foot, and going to his last pretends to be very busy over it, while he is in reality listening intently to discover whether Eva's presence will inspire Walther with the third and last verse of his song. His expectations are not disappointed, for the knight, approaching the maiden softly, declares his love in a beautiful song.

As the last notes die away, the cobbler joyfully exclaims that Walther has composed a Master Song, calls Eva and David (who has just entered) as witnesses that he composed it, foretells that, if Walther will only yield to his guidance he will yet enable him to win the prize, and, patting Eva in a truly paternal fashion, he bids her be happy, for she will yet be able to marry the man she loves. David, who has been made journeyman so that he can bear witness for Walther, greets the happy Magdalena with the tidings that they no longer need delay, but can marry immediately.

After the four happy young people and Hans Sachs have given vent to their rapture in a beautiful quintette, they adjourn to the meadow outside of the town, where the musical contest is to take place. The peasants and apprentices are merrily dancing on the green, and cease their mirthful gyrations only when the Master Singers appear. Hans Sachs addresses the crowd, reads the conditions of the test, proclaims what the prize shall be, and concludes by inviting Beckmesser to come forth and begin his song. The young people a.s.sembled hail this elderly candidate with veiled scorn, and Beckmesser, painfully clambering to the eminence where the candidates are requested to stand, hesitatingly begins his lay. The words, with which he has had no time to become familiar, are entirely unadapted to his tune, so he draws them out, clips them, loses the thread of the verses, and fails in every sense.

In his chagrin at having made himself ridiculous, and in anger because his colleagues declare the words of his song have no sense, he suddenly turns upon Hans Sachs, and, hoping to humiliate him publicly, accuses him of having written the song. Hans Sachs, of course, disowns the authorship, but stoutly declares the song is a masterpiece, and that he is sure every one present will agree with him if they hear it properly rendered to its appropriate tune. As he is a general favourite among his townsmen, he soon prevails upon them to listen to the author and composer and decide whether he or Beckmesser is at fault.

Walther then springs lightly up the turfy throne, and, inspired by love, he sings with all his heart. The beautiful words, married to an equally beautiful strain, win for him the unanimous plaudits of the crowd, who hail him as victor, while the blushing Eva places the laurel crown upon his head. Pogner, openly delighted with the favourable turn of affairs, gives him the badge of the guild, and heartily promises him the hand of his only daughter. As for Hans Sachs, having publicly proved that his judgment was not at fault, and that he had been keen enough to detect genius even when it revealed itself in a new form, he is heartily cheered by all the Nurembergers, who are prouder than ever of the cobbler poet who has brought about a happy marriage:--

'Hail Sachs! Hans Sachs!

Hail Nuremberg's darling Sachs!'

[Ill.u.s.tration: THE RHINE MAIDENS.]

THE NIBELUNG'S RING.--RHEINGOLD.

It was in 1848, after the completion of Tannhauser, that Wagner looked about for a subject for a new opera. Then 'for the last time the conflicting claims of History and Legend presented themselves.' He had studied the story of Barbarossa, intending to make use of it, but discarded it in favour of the Nibelungen Myths, which he decided to dramatise.[1] His first effort was an alliterative poem ent.i.tled 'The Death of Siegfried,' which, however, was soon set aside, a part of it only being incorporated in 'The Twilight [or Dusk] of the G.o.ds.'

Wagner was then dwelling in Dresden, and planning the organisation of a national theatre; but the political troubles of 1849, which resulted in his banishment, soon defeated all these hopes. After a short sojourn in Paris, Wagner took up his abode in Zurich, where he became a naturalised citizen, and where he first turned all his attention to the princ.i.p.al work of his life,--'The Nibelungen Ring.' In connection with this work Wagner himself wrote: 'When I tried to dramatise the most important moment of the mythos of the Nibelungen in Siegfried's Tod, I found it necessary to indicate a vast number of antecedent facts, so as to put the main incidents in the proper light. But I could only _narrate_ these subordinate matters, whereas I felt it imperative that they should be embodied in the action. Thus I came to write Siegfried. But here again the same difficulty troubled me. Finally I wrote "Die Walkure" and "Das Rheingold,"

and thus contrived to incorporate all that was needful to make the action tell its own tale.' The completed poem was privately printed in 1853, and published 'as a literary product' ten years later, when the author was in his fiftieth year.

As for the score, it was begun in 1853, and Wagner says: 'During a sleepless night at an inn at Spezzia, the music of "Das Rheingold" occurred to me; straightway I turned homeward and set to work.' Such was the energy with which he laboured that the complete score of the Rheingold was finished in 1854. Two years later the music to the Walkyrie was all done, and Siegfried begun. But pecuniary difficulties now forced the master to undertake more immediately remunerative work, and, 'tired of heaping one silent score upon another,' he undertook and finished 'Tristan and Ysolde.' He then thought he would never be able to finish his grand work, and wrote: 'I can hardly expect to find leisure to complete the music, and I have dismissed all hope that I may live to see it performed.'