t is not difficult to read in the story of
Walther's struggles against the prejudice and pedantry of the
Mastersingers a suggestion of Wagner's own life-history, and if
Beckmesser represents the narrow malice of critics who are themselves
composers--and these were always Wagner's bitterest enemies--Sachs may
stand for the enlightened public, which was the first to appreciate the
nobility of the composer's aim. It is not surprising that 'Die
Meistersinger' was one of the first of Wagner's mature works to win
general appreciation. The exquisite songs, some of them easily
detachable from their context, scattered lavishly throughout the work,
together with the important share of the music allotted to the chorus,
constitute a striking contrast to 'Tristan und Isolde' or 'Der Ring des
Nibelungen.' It has been suggested that this was due to a
half-unconscious desire on Wagner's part to write music which should
appeal more to the popular ear than was possible in 'Tristan und
Isolde.' One of the most striking features of the opera is the mastery
with which Wagner has caught and reproduced the atmosphere of
sixteenth-century Nuremberg without sacrificing a jot of the absolute
modernity of his style. 'Die Meistersinger' yields to none of the
composer's work in the complexity and elaboration of the score--indeed,
the prelude may be quoted as a specimen of Wagner's command of all the
secrets of polyphony at its strongest and greatest.

'Parsifal,' Wagner's last and in the opinion of many his greatest work,
was produced in 1882 at the Festspielhaus in Bayreuth. The name by which
the composer designated his work, _Buehnenweihfestspiel_ which may be
translated 'Sacred Festival Drama,' sufficiently indicates its solemn
import, and indeed both in subject and treatment it stands remote from
ordinary theatrical standards. The subject of 'Parsifal' is drawn from
the legends of the Holy Grail, which had already furnished Wagner with
the tale of 'Lohengrin.' Titurel, the earthly keeper of the Holy Grail,
has built the castle of Monsalvat, and there established a community of
stainless knights to guard the sacred chalice, who in their office are
miraculously sustained by its life-giving power. Growing old, he has
delegated his headship to his son Amfortas. Near to the castle of
Monsalvat dwells the magician Klingsor, who, having in vain solicited
entry to that pure company, is now devoted to the destruction of the
knights. He has transformed t