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Updated: May 7, 2025
Its influence was felt on every side in art, where the joyous simplicity of Wohlgemuth had given place to the fantastic melancholy of Albrecht Dürer, fit imprint of a troubled and storm-tossed mind; as well as in literature, where the bitter raillery and coarse jests of Hans Sachs, the cobbler-poet, now passed with swift approval from mouth to mouth.
In Nuremberg the veritable Hans Sachs wrote plays on Tannhauser, Tristan, and Siegfried between three and four hundred years before the poet-composer who put the old cobbler-poet into his comedy.
In the third act Walther, who had been taken into his house by Sachs and spent the night there, sings a recital of a dream; and Sachs, struck by its beauty, transcribes it, punctuating it with bits of comments and advice. Beckmesser, entering Sachs's shop when the cobbler-poet is out for a moment, finds the song, concludes that it is Sachs's own composition, and appropriates it.
Here there is another illustration of Wagner's adherence to the verities of history, or rather, of his employment of them. The words of the uplifting choral song are not Wagner's, but were written by the old cobbler-poet himself.
Sachs' song is merrily trolled out, but underneath its joviality we feel the greatness of the man a man so great in character that no suits of shining armour, no heralds and no waving banners are needed to make him impressive: he remains, even while he works at his last and sings a sort of club-dinner song, the simple cobbler-poet, great by reason of his sincerity and his artist-soul.
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