mistakes her patience for regret, and, almost frantic with love and despair, he bids her a passionate farewell and rushes off toward his ship.
‘To sea! To sea till time is ended!
Thy sacred promise be forgot,
Thy sacred promise and my fate!
Farewell! I wish not to destroy thee!’
But Senta has not ceased to love him. She runs after him, imploring him to remain with her, protesting her fidelity and renewing her vows in spite of Erik's passionate efforts to prevent her from doing so. The Flying Dutchman at first refuses to listen to her words, and rapidly gives his orders for departure. She is about to embark, when he suddenly turns toward her and declares that he is accursed, and that she has saved herself, by timely withdrawal, from the doom which awaits all those who fail to keep their troth:—
‘Now hear, and learn the fate from which thou wilt be saved:
Condemned am I to bear a frightful fortune,—
Ten times would death appear a brighter lot.
A woman's hand alone the curse can lighten,
If she will love me, and till death be true.
Still to be faithful thou hast vowed,
Yet has not God thy promise?
This rescues thee; for know, unhappy, what a fate is theirs
Who break the troth which they to me have plighted:
Endless damnation is their doom!
Victims untold have fallen 'neath this curse through me.
Yet, Senta, thou shalt escape.
Farewell! All hope is fled forevermore.’
But Senta has known from the very beginning who this dark wooer was, and is so intent upon saving him from his fate that she fears no danger for herself. Passionately she clings to him, protesting her affection, and when he looses her, and Erik would fain detain her by force, she struggles frantically to follow him.
Erik's cry brings Daland, Mary, and the Chorus to the rescue, and they too strive to restrain Senta, when they hear the stranger proclaim from the deck of his phantom ship that he is the Scourge of the Sea,—the Flying Dutchman. The vessel sails away from the harbour. Senta escapes from her friends, and rushes to a projecting cliff, whence she casts herself recklessly into the seething waves, intent only upon showing her love and saving him, and thereby proving herself faithful unto death:—
‘Praise thou thine angel for what he saith;
Here stand I, faithful, yea, till death!’
As Senta sinks beneath the waves the phantom vessel vanishes also, and as the storm abates and the rosy evening clouds appear in the west the transfigured forms of Senta and the Flying Dutchman hover for a moment over the wreck, and, rising slowly, float upward and out of sight, embracing each other, for her faithful love has indeed accomplished his salvation, and his spirit, may now be at rest.
TANNHÄUSER
In 1829, when Wagner was only sixteen years of age, he first became acquainted, through Hoffmann's novels, with the story of the mastersingers of Nürnberg, and with the mediæval legend of Tannhäuser, as versified by Ludwig Tieck. The ‘mystical coquetry and frivolous catholicism’ of this modern poem repelled him, and it was not until twelve years later, when he chanced upon a popular version of the same story, that he was struck by its dramatic possibilities. A chance mention of the Sängerkrieg of the Wartburg in this version made him trace the legend as far back as possible, and in doing so he came across an old poem of Lohengrin, and read Eschenbach's ‘Titurel’ and ‘Parzival,’ which were to serve as basis for two other great operas. The sketch of the opera of ‘Tannhäuser’ was completed in 1842, at Teplitz, during an excursion in the Bohemian mountains; but the whole score was not finished until three years later. Wagner had gone over it all so carefully that it was printed without much revision, and he had even written the piano score, which was sent to Berlin in 1845 and appeared in the same year that the opera was produced at Dresden.
Madame Schröder-Devrient, whom Wagner had in his mind in writing the part of Venus, sang that rôle, but, in spite of all her talent, the first performance was not a success. She wrote to Wagner concerning it, and said, ‘You are a man of genius, but you write such eccentric stuff it is hardly possible to sing it.’ The public in general, accustomed to light operas with happy endings, was dismayed at the sad and tragical termination, and, while some of the best musical authorities of the day applauded, others criticised the work unsparingly. Schumann alone seems to have realised the force of the author's new style, for he wrote, ‘On the whole, Wagner may become of great importance and significance to the stage,’—a doubtful prediction which was only triumphantly verified many years afterward. Like many of the mediæval legends, the story of Tannhäuser is connected with the ancient Teutonic religion, which declared that Holda, the Northern Venus, had set up her enchanted abode in the hollow mountain known as the Hörselberg, where she entertained her devotees with all the pleasures of love. When the missionaries came preaching Christianity, they diligently taught the people that all these heathen divinities were demons, and although Holda and her court were not forgotten, she became a type of sensual love. Tannhäuser, a minstrel of note, who has won many prizes for his songs, hearing of the wondrous underground palace and of its manifold charm, voluntarily enters the mountain, and abandons himself to the fair goddess's wiles. Here he spends a whole year in her company, surrounded by her train of loves and nymphs, yielding to all her enchantments, which at first intoxicate his poetic and beauty loving soul.
But at last the sensual pleasures in which he has been steeped begin to pall upon his jaded senses. He longs to tear himself away from the enchantress, and to return to the mingled pleasure and pain of earth.
The first scene of the opera represents the charmed grotto where Venus gently seeks to beguile the discontented knight, while nymphs, loves, bacchantes, and lovers whirl about in the graceful mazes of the dance, or pose in charming attitudes. Seeing Tannhäuser's abstraction and evident sadness, Venus artfully questions him, and when he confesses his homesickness, and his intense longing to revisit the earth, she again tries to dazzle him, and cast a glamour over all his senses, so as to make him utterly oblivious of all but her.
Temporarily intoxicated by her charms, Tannhäuser, when called upon to tune his lyre, bursts forth into a song extolling her beauty and fascination; but even before the lay is ended the longing to depart again seizes him, and he passionately entreats her to release him from her thrall:—
‘'Tis freedom I must win or die,—
For freedom I can all defy;
To strife or glory forth I go,
Come life or death, come joy or woe,
No more in bondage will I sigh!
O queen, beloved goddess, let me fly!’
Thus adjured, and seeing her power is temporarily ended, Venus haughtily dismisses her slave, warning him that he returns to earth in vain, as he has forfeited all chance of salvation by lingering with her, and bidding him return without fear when the intolerance of man has made him weary of life upon earth.
A sudden change of scene occurs. At a sign from Venus, the grotto and its voluptuous figures disappear; the roseate light makes way for the glaring sunshine, and Tannhäuser, who has not moved, suddenly finds himself upon the hillside, near the highroad and the shrine of the Virgin, and within sight of the Wartburg castle, where he formerly dwelt and won many a prize for his beautiful songs. The summer silence is at first broken only by the soft notes of a shepherd singing a popular ballad about Holda, the Northern Venus, who issues yearly from the mountain to herald the spring, but as he ceases a band of pilgrims slowly comes into view. These holy wanderers are all clad in penitential robes, and, as they slowly wend their way down
