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Wagner's mind dwelt much on Greek things, and as he followed a classical principle in choosing mythological and legendary subjects for his tragedies, so also he followed classical precedent in drawing the line between tragedy and comedy. "Tannhauser," "Tristan und Isolde," "Der Ring des Nibelungen," "Parsifal," and, in a lesser degree, "Lohengrin," are examples of the old tragedy type.
Of this class are the Homeric poems, the Nibelungen Lied, the Norse ballads, the Edda, the Kalewala, the legends of Arthur, and the poem of the Cid: all these, whatever their differences, have this in common, that they sprang at a remote period out of the earliest traditions of the several peoples, and neither did nor could have originated in a state of advanced civilization.
We may still have from time to time, under the reign of printing, a column made I suppose, by a whole army from melted cannon, as we had under the reign of architecture, Iliads and Romanceros, Mahabahrata, and Nibelungen Lieds, made by a whole people, with rhapsodies piled up and melted together.
And he told how all the people, both high and low, yearned for another sight of the radiant hero who in former days had blessed their land with his presence and his noble deeds. And his persuasive words had much weight with Siegfried, who said at length, "Tarry a few days yet for my answer. I will talk with my friends and the Nibelungen earls; and what they think best, that will I do."
The desperate state of his fortune gave him courage, and, looking up, he was surprised at the consternation which the stranger had occasioned: he was a person of ordinary appearance, who, accosting him frankly, exclaimed, "Ho, comrade, thou art, I see, bent on the same errand as myself; but wherefore dost thou seek the treasures of the Nibelungen without the protecting wreath?"
His spirit stirs in him as he goes out with his hero to the battle; but there is no drunken delight in blood; we never hear of warriors as in that grim Hall of the Nibelungen, quenching their thirst in the red stream; never anything of that fierce exultation in carnage with which the war poetry of so many nations, late and old, is crimsoned.
It was in Germany that “the pagan gods of the Nibelungen are forging their deadly weapons,” for Germans believe national superiority is due to military superiority. Dr. Sarolea named as a war year this very year in which we now are when he said: 1915.
And Homer preserves many a reminiscence of early Greek visits, peaceful and the reverse, to the coast of Egypt at this period. The reader will have noticed that one no longer treats the siege of Troy as a myth. To do so would be to exhibit a most uncritical mind; even the legends of King Arthur have a historic foundation, and those of the Nibelungen are still more probable.
The most distinctive poems the most permanently rooted and with heartiest reason for being the copious cycle of Arthurian legends, or the almost equally copious Charlemagne cycle, or the poems of the Cid, or Scandinavian Eddas, or Nibelungen, or Chaucer, or Spenser, or bona fide Ossian, or Inferno probably had their rise in the great historic perturbations, which they came in to sum up and confirm, indirectly embodying results to date.
However, on the morning of our intended parting, Liszt came to my room to tell me that the ladies had, after all, decided to accompany us to Paris, and added, laughing, that Marie had induced her mother to change her plans, as she wished to hear the rest of the Nibelungen poems. The prolonging of our journey, with all its delightful incidents, was quite in accordance with my taste.
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