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Updated: May 10, 2025
The untutored loveliness of his song fills the hide-bound Mastersingers with dismay, and Beckmesser's slate is soon covered. Walther, angry and defeated, rushes out in despair, and the assembly breaks up in confusion. Only the genial Hans Sachs finds truth and beauty in the song, and cautions his colleagues against hasty judgment.
I have had much care and bother to-day. Something of it clings very probably to my wits." "At the singing-school, do you mean?" she asks, with covert eagerness; "There was song-trial to-day." "Yes, child, I had considerable trouble over an election." She draws close to him. "Now, Sachs! You should have said so at once, and I would not have harassed you with senseless questions.
Then he proudly quits the room and the rest follow in confusion, leaving Sachs for a moment to show his vexation; then the curtain drops. The music of this Act is of the highest order of beauty and never falls to the level of mere prettiness; from the first note to the last it is vigorous, sturdy.
"Is it a practical joke you are playing on me? Do you make no distinction between the night and the day?" Sachs looks at him in innocent surprise. "What does it matter to you that I should sing? You are anxious, are you not, to have your shoes finished?" "Shut yourself up indoors then and keep quiet!"
The German Volkslied, as the exponent of the popular heart, has a wide range, from mere comment on historical events, and quaint, droll satire, such as may be found in Hans Sachs, to the grand protest against spiritual bondage which makes the burden of Luther's hymn, "Ein' feste Burg."
He himself was high, and so he could judge the greater height of Seven Sachs; and it was only through the greater height of Seven Sachs that he could form an adequate idea of the pinnacle occupied by the unique Archibald Florance. Honestly, he had never dreamt that there existed a man who habitually smoked twelve-shilling cigars and yet he reckoned to know a thing or two about cigars!
With its contrapuntal weaving it leads to the final chorus, and also it puts Sachs back again into the position from which the importance of Walther's song has thrust him: it is a last reminder that the opera is a glorification of song, and that the masters have a sacred trust to guard song pedantry and commercialism.
No work of fiction, however, produced such an excitement as the translation of Defoe's "Robinson Crusoe." Soon after its publication more than forty imitations appeared. During this century the Mastersingers went on composing, according to the rules of their guilds, but we look in vain for the raciness and simplicity of Hans Sachs.
The third act opens upon a peaceful Sunday-morning scene in the sleepy old town, and shows us Sachs sitting in his arm-chair at the window reading his Bible, and now and then expressing his hopes for Walter's success, as the great contest is soon to take place.
Hans Sachs, the cobbler poet, whose quaint rhymes are a source of delight to this day, and were a mighty force in the great work of the Reformation, by which the fetters of mediæval traditions and ecclesiastical abuse were thrown off by the German people. Of the personal appearance of Dürer at this time, we are not left in ignorance.
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