Roedder—“Die Meistersinger von Niirnberg. ,f 111 
individual experiences that the artist had to undergo is not indis¬ 
pensable for the enjoyment of his creation; indeed, it may even 
prove an obstacle. On the other hand it must be granted that it 
may also augment its charm. 
Now the last named feature is exactly what may be claimed for 
Die Meistersinger. Of course, it would be narrowminded to state 
in cut and dried fashion that Wagner identifies himself with Wal¬ 
ter, and the like. Wagner is identical with Walter, but he is also 
identical with Hans Sachs, in both cases to a certain extent. We 
know from his letters that in the delineation of Pogner, especially 
m the musical part of this character, he meant to do homage to his 
friend Otto Wesendonk, Mathilde’s husband. We know that for 
some time he had intended to call the present Beckmesser by the 
name of his bitterest critic, Hanslick—his name appears as Hans 
Lick and as Hanslich in some of the drafts preceding the final ver¬ 
sion. On sober second thought he abandoned such purely personal 
allusions, certainly not to the detriment of the finished work. The 
figure of Beckmesser stands for the whole chorus of hostile critics 
that greeted the appearance of every new work of Wagner’s with 
a volley of vituperation. In writing out the final version he may 
very well have had in mind the fate of his Tannhauser in Paris. 
It may not be amiss to hear on this point the drastic words of El¬ 
bert Hubbard : 27 
“Mr. Henry I. Frick has compiled a list of over one hundred 
names of musical critics who placed themselves on record in opposi¬ 
tion to Richard Wagner and his music. Only such men as proved 
themselves past masters and adepts in abuse are given a place in 
this Academy of Immortals. No writer, musician or artist who 
ever lived brought down on his head an equal amount of contumely 
and disparagement as Richard Wagner. Turner, Millet and Rodin 
have been let off lightly compared with the fate that was Wagner’s; 
and even the shrill outcry that was raised in Boston at sight of 
MacMonnies’ Bacchante was a passing zephyr to the storm that 
broke over the head of Wagner in Paris when after one hundred 
and sixteen rehearsals Tannhauser was produced. The derisive 
laughter, catcalls, shouts, hisses and uproar that greeted the play 
were only the shadow of the criticisms that filled the daily press, 
done by writers who mistook their own anserine limitations for 
inanity on the part of the composer. They scorned the melody 
they could not appreciate, like men who deny the sounds they can¬ 
not hear, or those who might revile the colors they could not dis- 
27 Richard Wagner, in Little Journeys to the Homes of Great Musicians; 
vol. VIII, No. 1 (January, 1901). 
