j Roedder—“Die Meistersinger von Nurnberg.” 101 
the Royal Opera at Dresden by Kurt Mey 18 and bears the title 
Hans Sachs. Im vorgeriickten Alter. Romantisch-komisches Sing- 
spiel in zwei Akten. Musik von Adalbert Gyrowetz (1763—1850). 
It seems that the opera was performed, or a performance contemp¬ 
lated, in 1834. The writer of the book is not named. The text 
is very romantic indeed, but could not have offered Wagner any 
suggestions. We need not enter here into its contents. The only 
feature that should be recorded is the character of the hero, who 
is depicted as a mature and experienced man, a roguish poet full 
of humor, a citizen proud of his work, modest and yet superior to 
all the rest. This I quote on the authority of Mey, and I have 
to take it on the same authority that Wagner’s conception of the 
character is infinitely deeper and his portrayal much more 
poetic. It is questionable whether Wagner ever knew of the ex¬ 
istence of Gyrowetz’ opera. His position as musical director of 
the Dresden opera may have given him a chance to become ac¬ 
quainted with it. It is however extremely unlikely that he ever 
read it. We should be willing, even if there were documentary 
proof of this fact, to accept in full Wagner’s word that Die Mei¬ 
stersinger is his own invention. 19 
A scene which in its broad humor and in its combination of 
comic elements may be regarded as the archetype of the scene of 
Beckmesser’s serenade and the attendant circumstances is found 
in August von Kotzebue’s Die deutschen Kleinstadter (1802). 20 
It is found in Act IY, scenes 3-5. While the lovelorn Sperling is 
singing before the window of his chosen one, Sabine herself is in 
the company of Herr Olmers, to whom she has plighted her troth, 
and Sabine’s aunt, Frau Staar, is singing her evening hymn, in¬ 
terrupted by, and in turn disturbing, Sperling’s musical efforts. 
To make confusion worse confounded, the nightwatchman appears 
on the scene with his call and blowing his oxhorn, and Sabine and 
Olmers are forced to hide behind a lamp post until the danger is 
past. All the elements entering into the delightful scene in front 
of Pogner’s house while Beckmesser sings his prize song, disturbed 
18 Cf. his Der Meistergesang in G-eschichte und Kunst. Leipzig- o. J. (See- 
mann). 
19 In this connection it is interesting to learn that Wagner at one time con¬ 
templated treating Hans Sachs’s second marriage—provided that a note of 
Professor Golther’s in Biihne und Welt , I, 2, 579, is correct. I am unable to 
verify it. 
20 My attention was called to this by two of my colleagues independently, 
Miss A. B. Ernst and Professor A. R. Hohlfeld. 
