while Hans Sachs has left whole volumes behind, and his memory is so revered that he is looked upon almost as the patron saint of his city. Longfellow says in his poem on "Nuremberg":
"Here Hans Sachs, the cobbler-poet, laureate of the
gentle craft,
Wisest of the Twelve Wise Masters in huge folios
sang and laughed!"
Wagner also obtained his idea for the contest of song from one of Hoffmann's novels entitled "Sängerkrieg." He made use of the same idea in "Tannhäuser."
Although "The Ring of the Nibelung," Wagner's grand lifework, was not presented until 1876, he had been at work upon its four parts for more than twenty-five years previously. He had published the first two parts without their musical score, in 1853. The other operas which appeared in the meanwhile were but breathing-places, so to speak, in the greater labour he had set himself to perform.
Wagner was especially fortunate in his choice of subject. The Nibelungen myth was a great national epic—one of the oldest of the Teutonic race, dating back to the prehistoric era when Wotan, Fricka, Freia, Thor, Loki, and the other gods and goddesses were worshipped in the German forests. In the course of centuries several versions of the legend appeared, some being found even in Iceland under the name of "Eddas." In Germany a long epic poem came to be written by some unknown hand. It was called the "Nibelungenlied," and it is the most famous of all early German poems.
Of course Wagner had access to all this material. But he made so many changes from it in writing his own poem as to create a new story—one which, independent of the wonderful music which he wrote to accompany it, gives him place among the foremost writers of his nation. Volumes have been written pointing out the differences between his Nibelung story and the earlier legends.
But the purpose of this little book is not to criticise, dissect, or compare. After giving these few needful names and dates, we wish merely to follow the splendid fancy of this singer of songs and teller of tales wherever in the realm of storyland it may chance to lead us.
One further word, however, of frank admission. While the spirit of the original is adhered to, and very often the exact words are quoted, it has not been deemed best to follow the argument too closely. Instead, simplicity and directness have been considered preferable to the involved plots and symbolical actions of the operas.
The book is directed primarily to the needs of young people, and is sent out to them in the hope that some time they may hear the dull booming of the Rhine about the Gold, the magic fire as it sweeps to encircle the sleeping maiden, the forest voices which greet the young and fearless hero, the chorus of the pilgrims, and the song which won the bride for a prize. All these and many other good things are held in store by the future. Meanwhile "the story's the thing," and we who will never grow too old to believe in giants, dragons and dwarfs, and the brave heroes who ride over the world doing heroic deeds, can still be thankful that Wagner lived and dreamed his dreams of the past.
J.W.M.
The Ring of the Curse
(Der Ring des Nibelungen)
PART I
THE RHINE-GOLD
Hundreds of years ago in a wonderful time called the dawn of the world there lived many strange beings which do not now exist. Gods and goddesses dwelt in the clouds that hovered about the mountain peaks. Great untamed giants roamed amid the valleys. Swarthy, misshapen dwarfs, called Nibelungs[#], toiled in the caves of the under-world heaping up treasures of gold and silver which never did anyone any good. Ugly dragons crawled about on the earth; while beautiful water-nymphs lived in the rivers and seas. Lastly there were heroes and savage men who struggled together for the mastery in that far-off day when the world was in the making.
[#] Pronounced Nee-bel-oongs.
How the end came to all these strange things, and how the reign of the gods finally ceased, will be set down in this fourfold story I am about to tell you.
In the clear depths of the river Rhine, in Germany, once dwelt three water-nymphs—lovely maidens who were very like other maidens, except that they passed their whole lives under the water and could not be seen by ordinary eyes. Fair were they in face, and graceful in form. Their eyes beamed gladness, for they had never known sorrow; while their long golden hair floated about them like a garment, or tossed upon the wave-crest as they played some merry game of hide-and-seek amid the grottoes of their watery world. They were called the Rhine-Daughters, and thus in frolicsome play did they spend their days—free from all care save one. It was this care and the sorrow following close upon it that caused the present story to be told.
Upon one of the highest rocks, deep down in the bed of the Rhine, was stored a great lump of pure gold, brighter and more dazzling than any other treasure ever known. It was also more wonderful than any other gold, because it contained the power of making its owner master of all the world. This treasure had lain undisturbed in the river's bed for so long that it had come to be known as the Rhine-Gold. It was watched over by the Rhine-Daughters, in whose care their father had left it. This was their sole duty—to keep guard night and day lest some thief should come and steal the priceless treasure.
One bright morning the maidens seemed unusually merry. They darted in and out the caverns with a speed which left the flying-fish far behind. They laughed and chattered and sang, but glancing from time to time up at the precious Rhine-Gold, to see if it still glittered upon its protecting crag.
The Rhine-Daughters
H. Hendrich
By permission of F. Bruckmann, Munich
Presently their happy noise at play attracted a passer-by, who clambered upon one of the jutting rocks to see what it was all about. The new-comer stood in the greatest contrast to the three laughing girls. He was a dwarf, little and ugly and crooked, with a humped back and long, claw-like fingers to match the eager, grasping look in his small eyes. He was Alberich, of the race of the Nibelungs—the earth-dwarfs who dug for treasure in the underground caverns, and hammered and toiled without ceasing for the gold that never did them any good.
"Ho, ho!" he exclaimed to the maidens. "A fair morning to you!"
The nymphs started in alarm at the harsh, croaking voice. Nor did their first sight of the visitor reassure them. But they replied, civilly enough,
"A fair morning to you, sir!"
Then one of them darted swiftly upward, singing as she went
"Guard well the Gold;
'Twas just such a foe
Our father foretold."
Nevertheless Alberich had paid no attention to the Gold, so pleased was he by the nymphs and their gambols. And they in turn, losing their fear of the uncouth monster, and willing to tease him, asked him to catch them in their game of hide-and-seek. This he tried to do; but blinded by the unusual light, and stumbling awkwardly
