Iv monologue — Studies in the Wagnerian Drama

In broad lines the prelude to "Die Meistersinger" not only serves to delineate the characteristic traits of the personages concerned in the comedy, but also exhibits Wagner's method of musical exposition, and teaches the lesson which is at the bottom of the satire--the lesson, namely, that it is through the union of the two principles, which until the close of the play appear in conflict, that a genuine work of art is quickened. The prelude contains the whole symbolism of the comedy in a nutshell. In form it is unique, but in so far as it employs only melodies drawn from the play it may not incorrectly be classed with the medley overtures which composers used to throw together for ante-curtain music. It is the manner in which Wagner has treated his melodies, and the delineative capacity with which he has endowed them, that render the prelude a capital exemplification of the theory advanced by Gluck, when, in his preface to "Alceste," he said, "I imagined that the overture ought to prepare the audience for the action of the piece, and serve as a kind of argument to it." Wagner follows this precept and the example set by Beethoven in the "Leonore" overtures, and indicates the elements of the plot, their progress in its development, and finally the outcome, in his symphonic introduction. The melodies which are its constructive material are of two classes, broadly distinguished in external physiognomy and emotional essence. They are presented first consecutively, then as in conflict (first one, then another, pushing forward for expression), finally in harmonious and contented union. It should always be borne in mind that no matter how numerous the hand-books--which a witty German critic called "musical Baedeckers"--if one wishes to know Wagner's purpose in the use of a typical phrase or melody, he need take no one's word for it except Wagner's. He can turn to the score and trace it out himself, learning its meaning from the words and situations with which it is associated. If this plan be followed, it will be seen that the master-singers are throughout the comedy characterized by two melodies,