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Walther's "Pastorale," the candidate for admission to a "Missouri" church must be a truly converted and regenerated Christian. The General Council requires that the candidate shall have been admitted to the Lord's Supper and shall accept the constitution.
The song is in its final effect considerably different from the original one, being the fruit of the moment, like Walther's other improvisations. It preserves, however, both in text and tune, a sufficient likeness to the first to prove it of an identical source. It is the same dream he tells, but expressed in different images.
Protestants have taken the lead in this work and have not glossed anything over. Boehmer's able treatise has been translated into English. Walther's Fuer Luther wider Rom will, no doubt, be given the public in an English edition soon. Works like these have long blasted the claim of Catholics that Protestants are afraid to have the truth told about Luther. They only demand that the truth be told.
At the very first question, however, whether he be free and honourably born, Pogner hurriedly prevents Walther's answer by his own, making himself voucher for him in every respect such as that.
Auersperg sat in a great room overlooking the valley. His chair stood on a slightly raised portion of the floor, and he was enthroned like a sovereign. John, following Walther's example, bowed low before him. "You may go, Walther," said Auersperg. "I wish to speak alone with this young man."
The scene of the second act is laid at a delightfully picturesque street-corner. Sachs is musing before his shop-door when Eva comes to find out how Walther had fared before the Mastersingers. Hans tells her of his discomfiture, and, by purposely belittling Walther's claims to musicianship, discovers what he had before suspected, that she loves the young knight.
All this while the confusion of voices has not ceased or diminished. Beckmesser has been heatedly, in support of his chalk-marks, going over Walther's literary misdemeanours: Defective versification, unpronounceable words, misplaced rhymes, etc. etc. The masters have been vociferously criticising and rejecting the new-comer. Pogner has looked on and taken no part, a dejected spectator.
The air retains as if echoes, or fragrances, of the personalities which have but just withdrawn; it is sweetened with effluvia of Walther's youth, of Sachs's greatness of heart. Suddenly, like a bar of bilious green across a shimmering mother-o'-pearl fabric, harmonies of a very different sort catch the attention, and Beckmesser's face is seen peering in at the window.
On opening a paper which age had turned yellow, he saw to his astonishment a note drawn many years back, in which his father acknowledged himself Walther's debtor for a sum therein named. There was no receipt upon it, and yet it was not in the creditor's hands. How was this circumstance to be explained?
Sachs abruptly ceases, and sets to work; and the hammering phrase is heard again, now combined with the beginning of another subject, liker than ever to Siegfried's great song the very harmonies as well as the general rhythm are the same and this subject is developed before long into the Cobbler's song. But "and still that strain I hear"; and he stops and dreams again over Walther's song.
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