New-York tribune., 1909-11-07

chord of his postlude is interrupted by
Tannhauser's words: 'Ich horte Harlem
schiagr" Yet we are asked to assume that
in the brief interim Elizabeth has asconded
IN. mountain 10 the Wartburg. died. been
prepared for burisl and brought back to
the valley as the central object Of a state
~ funeral.
IL vouid have been much wiser to have
left the death OF Elizabeth to The iinagina-
tion of the public than 10 have made the
scene ridiculous. Bu. he was obviously
afraid to do that. lest his purpose lac over
looked. He was master Of theatrical
craft. end though he could write tragedy
like Tristan und Isolde" with little re-
gard for external action. he was quite un-
willing TO miss so effective a theatrical
effect as the death of Tannhauser beside
Elizsbeth's bier. After all. he did not trust
the public whose Judgment he affected to
plses above that Of his critics. and for this
reason while be was willing TO call up
memories Of his earlier opera by quoting
some Of il. music IN 'Parsifar' (the So
called swan motive'D he ignored the ques-
tion which plays 50 important role in
'Lohengriu'' ard made the healing of Am
fortas depend upon a touch OF the tails
manic spear-a device which came into the
Grail story from pagan sources. as l have
already pointed out
Nov. why uas the questioning OF Iohen-
grin forbidden? Wolfram Yon Eschenbach
tells US. and his explanation sufiiced Nag-
Ter when he made his first studies of the
Grail legends as p preparation for '1.oher-
grin" II was the Holy Grail itself which
pronounced the tatU. An Inscription sp-
pesred on the tslsman one day command
Ing that whenever knight of the Grail
went into foreign lands 80 assume rule
over people he was 20 sdmonish them
not ~ question him concerning his name
end race; should the question be put he
Tss 20 leave them az once. And the rea-
sen?
Well der gut. Amfortas
So SO lsSs S i'm i'm eittsrn sehmsTIsn lag
lst ihnen allies Frsgen leid:
All des firales Dienst gesellen
Wcllen sich NIGHT mehr fragen lass.n
The same explanation is made in the
naeoisvel fLohsngrin" We are not called
upon 20 admire the logic Of Wolfram and
the Knights OF the Grail. but nothing could
be palmer than this: The sufferings of
Amfortss having been wofully prolonged hy
Parzivals failure % ask the healing cues-
ton Che needed only to have exhibited his
compassion with the suffering king by ask
ing What ails thee, uncle-O the Knights
OF the Grail were thereafter required by
their oracular guide 20 prohibit all ques-
uonins of themselves under penalty of
forfeiture Of their puissant help When
Wagner wrought his last drama he vas
presented with dilemma: should he re-
main consistent and adhere 10 the question
f~-r &.
OF inconsistency for the sake Of that bit of
spectacular apparatus. the sacred lance?
He chose inconsistency and ths show and
emphasized the element OF relic worship
10 such degree as tn make his drama for
eign 10 the intellectual and religious habits
OF the time in which he wrote. But this
did not disturb him: for he knew that
beauty addresses itself 10 the emotions
rather than the intellect. and that his philo-
sophical message of the redeeming power
cf loving compassion would find entrance
10 the hearts of the people over all the OBJ
stacles that reason might interpose. But
he destroyed all the poetical bonds which
ought or might have existed between Par
sifsl" and "Lohengrin.''
II was Wagner who created the contra
diction which puts his operas in opposition
by his substitution OF the sacred lance as
n
poets had long before taken the privilege
OF juggling with two elements of ancient
myths and folk tales which ere blended
in the story of Lohengrin. Originally there
was no relationship between the Knight
Of the Holy Grail and the Swan Knight.
and there is no telling when the fusion
of the tales was made. But the element
OF the forbidden question is of unspeakable
antiquity and survives in the law of tabu
which exists among ssvages to-day. When
Wagner discussed his opera in his Com
munication TO My Friends he pointed out
the resemblance between the story of
LohengTin and the myth of Zeus ana
Ssmele. Its philosophical essence he pro-
claimed TO be hur7anity's feeling Of the
necessity of love. Elsa was 1.-The woman
who drew Lohengrir from the sunny
heights TO the depths OF earths warm
heart. Thus yearned he for woman
for the human heart. And thus did lie
step down from out his loneliness Of sterile
bliss when re heard this woman's cry for
succor. this heart cry from humanity be-
low This IS all very well. and IL would
be churish 10 say that Il is not besuti-
fully reflected i'm Wsgner's drama: but IL
does not explain the need Of the prohi-
bition. A woman who loves must have
unquestioning faith i'm her husband-that
is all But there are two ancient myths
which show that the tabu was conceived
ss necessary ingredient OF the asSocia-
tion OF divine men with human women.
Let both be recalled. for both have plainly
gon. over into the medieval story. The
Hrsi il the one 10 which Wagner made Al
lusion: Jupiter has given his love TO
Semele. Wickedr prompted by the jesl-
Gus Juno, Semele asks her august lover 10
grant her a wish. He promises that she
shall have her desire and confirms his
words with the irrevoesble oath. swearing
ny tn. stygisn Aood. Ssraele asks him then
20 appear 80 her in all his celestial splen-
do- The god would have stopped her