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ada this work, written in 1898, which unfortunately has not yet been translated into English.

Wagnerism His firm led to Shaw not only that, but also to reflect the spirit of the Wagnerian dramas on their own. Thus we find that quoted countless times to Bayreuth titan. In the preface to "Fascination" ("The philanderer"), writes: "... the Theater of the Bayreuth Festival had not come into existence had it not been for the Tetralogía of the Nibelung, Wagner, and later expressed this thought of such Wagnerian net, and one of the bases of musical drama: "And readers of Ibsen and Maeterlinck, who studied piano at Wagner, should know who can appreciate the full force of a dramatic masterpiece without the help of the theater. "In the preface to" The Devil's Disciple "he says, referring to his habit of self-analysis Wagnerian his work

" write prefaces as did Dryden, and dissertations as Wagner did, because I can ", and four pages later says flatly:" No one ever writes best tragedy of King Lear, and best comedy Le Festin de Pierre, or Peer Gynt, and Best Debut Don Giovasit.gif? es1205354616 "alt =" setstats "border =" 0 "width =" 1 "height =" 1 "& amp; amp; amp; gt;

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AT THE ALTAR OF ST WAGNER
By Mark Twain

Bayreuth, August 2.

was in Nuremberg where we hit the flood of music fans heading toward Bayreuth. We have never seen such crowds of excited pilgrims and bullies. It took a good half hour to pack and bring them together to the train, and this was the longest train we had seen in Europe. Nuremberg had been witnessing this kind of experience a couple of times a day for two weeks. This gives an impressive sense of the magnitude of this biennial pilgrimage. CHTMLXstill nothing. When Nuremberg us we had a lot of people who had come on pilgrimage without first securing the seats and shelter. Not found neither in Bayreuth. Marched through the streets of Bayreuth sadly for a while, went to Nuremberg and found neither beds or rooms, and toured their strange streets all night, waiting to open and empty hotel guests in the trains, leaving room for these brothers defeated and sisters in faith. They had endured 30 to 40 hours by train through Europe-with all that that implies of fatigue, worry and financial deterioration, and all they had achieved and were going to get for it was skill and accuracy sympathizethemselves, practical experience with the streets of both cities, while other people were sleeping in their beds.
These humiliated outcasts had the look grim, dusty and wet cats apologetic, and his eyes were glazed by sleepiness, curled their bodies from head to foot, and all good hearted people refrained ask them if they had been in Bayreuth and have succeeded, knowing that they lie.

by Web-Cam Bayreuth in 2008.

Asher of the room to the stage.

Bayreuth We arrived at mid-afternoon on a rainy Saturday. We were wise and we had secured the Opera and accommodation months in advance.

I'm not a music critic, and did not come here to write essays on the operas or making judgments on their merits. Bayreuth children could do with more sympathy and more intelligent than myself. Just want to bring 4 or 5 pilgrims to the operas, pilgrims are able to appreciate and enjoy. What I write here about this event, in my spare time, I offer the public just as a glance, without any educational value.

All the lights were sedated, so pale that the congregation sat in deep and solemn gloom. The funereal rustling of dresses and the low tone of the conversation started off smoothly, and there was no sound or the ghost of a sound. This deep and progressive impressive silence lasted some time, the best conceivable preparation for music, show or conference. I think we should show people have invented or imported this simple and impressive way to ensure and solidify the attention of an audience, long ago, instead, opening the shows continue today with a deadly competitionsng of noise, confusion and interest faded.

Finally the darkness, distance and mystery, gentle and beautiful notes emerge on silence, and from his grave the dead magician began to shake his spells on his disciples and steep their souls their tricks. There was something strangely impressive in the idea that seemed to penetrate the composer was aware from his grave of what went on there, and that those sounds were the robes divine the feelings at that time passed through his brain, not the sounds family and recognized that others had been produced in the past.

Cmasters been out over 7 hours. Seven hours at $ 5 a ticket is almost too much for this money.

Corner
Bayreuth in the early century.

Until we walked through the aisles among the crowd at intermission I met a dozen friends from different parts of America, and some who were more familiar with Wagner said that "Parsifal" seldom Like the first, but after listening to several times was almost certainly became the favorite piece. It seemed impossible, but it was true, because this assertion come from people whose word could not doubtthe opera house and arrived about the beginning of Act II. My ticket got me into the thresholds, I passed the police and the chain, and I thought I would take a break on a bench for an hour or two and waited for the third act.
At a time when the bugles sounded and the crowd began to move and blend into the theater. I will explain that this clarion call is one of the nice details here. You can see that the theater is empty, and a few hundred people in the audience are in the restaurant, the first trumpet is about a quarter of an hour before the curtain rises. This business of bugles, in uniform, marching in military pass and sent over
an emperor's niece was beautiful, had a kind face, he was not proud, it was known as having a common human sympathy. There are many kinds of princesses, but this class is the most damaging of all, because the people where they are reconciled to the monarchy and slow the clock of progress. The princes desirable and valuable, are the czars and their class. Through its mere silent presence in this world, they cover them with derision every argument that can be invented in favor of royalty by the most ingenious casuists. At the time, the husband of the princess was valuable. He led a degraded life, it sank it into their own hands in mysterious circumstances and was buried like a god. CHT

MLXC

In Opera there is a long hall behind the audience, a kind of open gallery, where the princes are aligned, is sacred to them, is the glory of glories. As soon as you fill the theater, the crowd stood, turned and fixed his eyes upon the princely framework and provide for long, lovingly and sadly contemplate as sinners paradise. Stay happy, unconscious, embedded in worship. There is nowhere more pathetic spectacle than this. It is worth crossing many oceans to see. Not far from the same look that people made about Victor Hugo, or Niagara, or the bones of a mastodon, or the guillotine of the Revolution or the Great Pyramid, oeEU has come by luck, and has not been won. A dollar found on the street gives you more satisfaction than ninety-nine who have to earn by working. A prince is the greatness, power, permanent party and support, by accident, the accident of birth, and remains with the haunted eyes of poverty and obscurity, as a monumental representative of luck. And then, the uppermost value of all-his is the only good fortune in the land that is safe. The millionaire trader can become a beggar, the enlightened policy can have a vital mistake and be thrown out and forgotten, the illustrious general can lose a decisive battle and with it the consideration of men, but a prince is always a prince, ieIt looks more like something calming our curiosity but no interest will be next time. But is not the same for Europeans. I am very sure. 18 years ago I was in London and called the home of English a cold December afternoon, cloudy and sad, to visit his wife and married daughter, a half hour later than the agreed time they appeared, ice cream. I explained that had been delayed by unforeseen circumstances, while passing through the neighborhood of Marlborough House they saw a crowd gathered and were informed that he was about to get the Prince of Wales, so stayed to take a look, were half an hour waiting on the sidewalk, freezing with the rest of the people, but ultimately DeSilusionaron as Prince changed his mind. I said, quite surprised, "Is it possible that you two have always lived in London and have never seen the Prince of Wales?" Apparently they were the surprised and they exclaimed: "What an idea! We have seen hundreds of times! "

They had seen hundreds of times, but had waited half an hour in the fog and cold, in the middle of a mix of patients of the same asylum, hoping to see him again.

was a startling assertion, but one is compelled to believe in the English, but how are you say things. I hesitate for a moment, I blurted out: "I can not understand anything. If I do not hubiwas never seen General Grant, I doubt I would have done the same to get a look. " With a slight emphasis on my words.

Her pale face showed that they were surprised that parallel what they said, coldly, "Of course not. He's just a President. "

is an indisputable fact that the Prince has a permanent interest, an interest that is not subject to deterioration. The General who was never defeated, the general who never held a council of war, the only General who commanded a front line from 1200 miles away, the blacksmith who forged the pieces of a great republic and restored so that survivemonarchies to all present and future, was not a person that deserved the attention of those people. For them, my General was only a man, after all, while the Prince was clearly much more than that, a being of a completely different construction and constitution, a being that had no relationship to the men and the eternal lights sky did not have with the poor and greasy candles in the windows. Drooling and die and leave nothing but a handful of ashes and odor.
saw the last act of "Tannhäuser." I sat in darkness and profound silence, waiting a minute, two minutes, I do not know exactly how long, then, the soft music of a hidden orchestra began aexhalar exquisite sighs from beneath the distant scene, y. .. step by step, the curtain was opened in half and was guided gently to the sides, revealing the dark forest and a shrine on the road, praying with a young woman dressed in white, and a man standing near her. At that moment he heard approaching a noble chorus of male voices, and from that moment until the curtain was closed music, just music, music that can be drunk with pleasure, music that makes you take the bag and the staff and give around the world to hear.

To those who think coming here in the Wagner season next year, I tell them to bring their own comidada. If you do, you never cease to thank me. If they do, they will find a tough fight to save themselves from starvation not in Bayreuth. Bayreuth is merely a large town and has no big hotels or restaurants. The main shelters are the Golden Anchor and the Sun in any of these places you can get a great meal, no, I mean you can go there and see how other people get it. Has no fault. The village is full of restaurants, but they are small and bad, and are overwhelmed by customers. Must book a table with two hours notice, and often, when you get find someone occupying it. We had that experience. We had had a dispute over daily life and when digor us, including crowds of people. I have the impression that the only people who do not have to fight are the veterans, the disciples who have been here before and know the strings. I think they arrive about a week before the first opera, occupying all the tables for the season. My tribe has tried all sorts of places, some out of town, a mile or two, and has only caught the end leftovers and snacks, never in any instance a complete meal and convincing. "Digestible? No, quite the contrary. These leftovers will serve as souvenirs of Bayreuth, and in this aspect should not underestimate their worth. The photos fade, memories are lost, busts of Wagner are broken, but once it absorbs a meal of a restaurant in Bayreuth, this isyour possession and your property until it's time to anoint his body. Some of these pilgrims here become, in effect, toilets, toilets memories of Bayreuth. It is believed among scientists that could examine the crop of a dead peregrine Bayreuth, anywhere in the world and know where they come. But I like this ballast.

Thursday. - They kept two sets of singers in stock for the main roles, and one of them is composed of the most renowned artists in the world. I guess there must be a double set, no doubt a single set could die of exhaustion in a week, since all functions last from 4 pm ha single expression until the curtain closes and the last sounds have paled slowly and end, then the dead rise in one impulse and shake the whole building with their applause. All seats are filled in the first act, and there is one vacancy in the latter. If a man wants to be noticed, let him come here and to withdraw from the room through an act. This would make him the most famous. This hearing did not remember anything I've ever seen before, or anything you have read, except for that city in the Arabian tale where all the inhabitants had become brass, and travelers were found after the centuries, mute, motionless, and still retaining those gestures qXC Could this be a pleasant atmosphere for the people that music produces a sort of divine ecstasy, for which its creator is a deity, the theater is a temple, the work of his brain and hands, holy things and participation in it, with their eyes and ears, a sacred solemnity? Clearly, no. So maybe this explains the temporary expatriation, the tedious journey of seas and continents, the pilgrimage to Bayreuth, these devotees may well worship in an atmosphere of devotion. Only here can be found without mottling or staining of any other pollution. In this remote village there is nothing to see, no newspapers that we brought into the world's worries away, nothing happens, it is always dominantngo.

The pilgrim walks to his temple, outside the town, and returns to his bed at night with his heart, his soul and his body, exhausted after long hours of tremendous emotion, and not in a position to anything other than lying awkwardly and gather strength for the next session.

This opera of "Tristan and Isolde" last night broke the hearts of all witnesses in faith, and I know some have heard from many who could not sleep, but mourn over overnight. I feel out of place here. Sometimes I feel like the only sensible in a community of crazy, sometimes as the only blind man where all pu

Dale Technology It400e 2 Short Biographies Master.

Two Short Biographies Richard Wagner

INTRODUCTION

Richard Wagner, born on May 22, 1813 in Leipzig, was very soon his artistic influences family, his adoptive father Ludwig Geyer, who was an actor and painter, was his first instructor. Moreover, his older sister Rosalie was also an actress and her other sister, Klara, was a singer. Klara professional destiny made the Wagner house was visited by CM von Weber, for whom the young man felt a special predilection that transcends the German opera. In 1829, Richard discovered the art who devoted his entire life:attended a performance of Fidelio, being dazzled by the vocal and dramatic talents of Wilhelmina Schroeder-Devrient soprano (Leonora). The young man wrote a letter congratulating her that night and prophesying his own career as a composer.

Richard musical studies included the piano and violin (where not highlighted), some elements of music theory behind his family G. Müllert, musician of the orchestra in Leipzig. For six months he studied with Theodor Weinlig, cantor of St. Thomas in Leipzig, the Art of Fugue, fees, etc.. On the other hand, the interest of young per literatura, mostly classical, inspired him to become a writer and after some initial contact with is your gender in school, Richard discovered in operating your ideal, since this could be used for both genders together. His professional career began at age twenty, when he was hired as choir director of Würzburg. Since then, Wagner worked on a series of provincial theaters, short of money and a little more public. The young Richard composed his first opera for those theaters from the post of conductor: Fairies (Die Feen ) in Magdeburg (1834), based on a story by Gozzi ( La donna serpent), which whose complexity was released in 1888 (five years after his death)a series of terrible storms inspired a new opera: The Flying Dutchman (Der Fliegende Hollander ).
stay in Paris was an absolute failure to Wagner. Besides not being able to release any of his operas, was working in reductions for piano and singing Italian operas for which he took great aversion. Even spent a brief time in debtor's prison because their debts are piling up fast and low income. Finally it was the city of Dresden which, with the help of Meyerbeer, accepted the premiere of Rienzi

. Wagner left Paris with bitterness, but with hopes for their homeland. Rienzi

and the royal house of Saxony.

With Tannhäuser, premiered in Dresden in 1845, advanced in the use of driver issues now more extensive. Use the legendary world of knights Minnesinger medieval German equivalent to the troubadours of Provence. But here the drama takes a religious aspect to face, first, love "carnal", symbolizing the goddess Venus and the other, the spiritual love of Elisabeth. The play begins in Venusberg, where Tannhäuser remains with the goddess. The Knight misses the underworld and makes Venus allowed to return. Once in the region of Thuringia (earlyORT hours of opera, when Lohengrin is identified as a Knight of the Holy Grail. Although Wagner believed in the efficacy of the system, it really had its cracks, as for his contemporaries was very difficult to recognize the many issues involved in music and that related closely to the text; system that almost no one understood by its complexity and because his operas only were represented in a few theaters. Richard Wagner began the composition of Lohengrin

in 1845, but active participation by the composer in the revolutionary events of Dresden (1848-1849) was forced to take refuge first in Weimar with Liszt and the processing order decreed against him into exile in Switzerland.

Lohengrin

was therefore the first opera to be premiered in Germany (Weimar, August 28, 1850) while Richard remained in exile. In it are still remarkably Italianate influences and meyerbeerianas.

patronage of King Ludwig II of Bavaria

When the composer had retired to Mariafeld (near Zurich, May 1864) for claims of creditors was presented as a miracle Cabinet Secretary Luis II to tell the king, his most ardent admirer, would be flattered if he accepted to be her intered guest. Were quickly paid the numerous debts contracted by the composer who settled comfortably in a house near the king's summer residence in Berg. For he composed The March of Homage
. On June 1, 1865 opened

Tristan and Isolde in Munich, when Wagner began his autobiography My Life

(Mein Leben). But he knew he had initiated relations with Cosima Liszt and were exploited for a court intrigue that forced Louis II to ask him time away from Munich. He moved to Switzerland and, after the death of his wife Minna in Dresden (1866), was installed with Cosima in Triebschen beautiful villa on Lake Geneva with her four daughters. Richard was able to work in his orich, while starting composition The Götterdämmerung. That poem was read by Wagner in Dresden, Zurich and Paris with notable success. Friends showed their admiration for the Germanic epic hero, but put certain objections to the viability of their stage performance. After years of living with Wagner, Cosima was Hans von Bülow divorces and marries Richard (1870), for his birthday he wrote Siegfried Idyll. By this time Wagner went on to Germany to prepare the way for his Fesrspielhaus

in Bayreuth and the Wagner Society Foundation. On the day of its fifty-ninth birthday he laid the foundation stone of the Bayreuth Theatre, and the following year realraised a tour of Germany to raise funds, and finally, thanks to the generous support of Louis II was finished. That same year (1874) built his house Wahnfried of Bayreuth, which he moved. It ended the twilight of the gods, ending the tetralogy, which was first forming three complete cycles in Bayreuth (1876). Economic losses were heavy, but it was the show that everyone wanted to see. After the festival, Wagner moved with his family to London. Where he led a series of concerts to raise funds to cover losses in Bayreuth. Shortly after he had his first heart problems, so he moved to Bad Ems (1877) for a health cure.

Cthe holy alliance wounding her. Since then, the wound had stopped bleeding. A prophecy that was to save a young Amfortas is the only hope. One day there comes a pure girl who does not know his name nor his parents; Gurnemanz, one of the gentlemen, takes the sacred meal, but seeing the young man shows no signs of being a messenger of prophecy you out of castle. Parsifal, however, expire at Kundry and Klingsor recovering the sacred spear. In the last act has been a long time and Parsifal returns to the Grail castle. Good Friday; Guernemanz now recognizes the savior of prophecy and proclaimed the new king of the Grail. They go to the room where the gentlemen remain Amfortas, Parsifal touches Amfortas's wound, quasure). Presented this work in 1836, but was greeted with little enthusiasm. That same year, Wagner married the actress Minna Planer. The couple moved to Königsberg and then to Riga, where Wagner has served as musical director. After some weeks, Minna leaves him for another man. Shortly after she returns, but the relationship never painstakingly reassembled and run in for the next three decades.

Mired in debt, the couple furtively leave Riga in 1839. Leave for London and the way they are victims of a storm that inspired Wagner's The Flying Dutchman (Der Fliegende Holländer). The Wagner live a period in Paris, where Richard makes his living reorquestando operas by other composers. Dresden

CHTs and then to Zurich. Exile Wagner would spend the next twelve years in exile. Having completed Lohengrin before the Dresden uprising called, he turns to his friend Franz Liszt, who was asked to ensure that this opera is represented in his absence. Thus, in August 1850, Liszt himself directed the premiere in Weimar.

However, Wagner was in a very precarious, marginalized in the German musical world with no income and little hope of being able to represent the works they produced. His wife, Minna, who recently had appreciated his later operas, gradually shut himself into a deep depression. To make matters worse, the same Wagner was diagnosed with erysipelas, which further increasedking to expel Wagner of the city. Luis II comes to think of abdicating to follow Wagner in exile, but the musician does persuade.

Wagner moved to the outskirts of Lucerne. In 1867 he finished his opera Die Meistersinger of Nuremberg (Die Meistersinger von Nürnberg). Three years later, divorced and Cosima married Wagner, who offers the Siegfried Idyll on the occasion of his birthday. The couple has two children: Eva and Siegfried (and Isolde, the daughter of the affair.) For several years, the philosopher Friedrich Wilhelm Nietzsche was a close friend of Wagner, although the relationship ended in enmity. The Ring cycle

Wagner spent more than vielhaus, which continue to represent his work, year after year since then (except in parentheses caused by the two world wars).

In 1877, Wagner began his final opera, Parsifal. Took to compose four years, during which he also writes a series of essays on religion and art. Parsifal premiered in January 1882. At this time Wagner is seriously ill. Wagner's family moves to Venice in winter. On February 13, 1883, Wagner dies of a heart attack. Your body is repatriated and buried in the garden of Wahnfried, his villa in Bayreuth. Ideology Wagner

German Patriotism

-Wagner was initially driven by the ideas ofthe people were not bullied. Religion

About this track says Houston Stewart Chamberlain | Chamberlain HS: Religion is, according to Wagner, for the inner life, which the monarchy is for outside. Even in those years (1848-1852), in which Wagner was almost directly at odds with Christianity and history, there is not one of her writings that do not talk about religion as a basis of "human dignity itself," as "the source of all art ", etc.. The churches, however, and crystallization of revelation in dogma, although the majority are treated by Wagner with great respect and give you the opportunity to treat light-filled, it seems that personalmWagnerian performances, partly due to sabotage by protests by Holocaust survivors. ============================================= =============================

Celestron Omni Xlt 150 Reflector

a, or even refer their historical development. I aspire only to show that the [legends] underlying the musical dramas of Richard Wagner (1813-1883), there are matters entirely away from the tradition of our people, nor have they ceased to be known and loved by him in times more or less remote. Because nothing

often hear, not the antiwagnerianos (class of people who go much scarcer), but non-Wagnerian or indifferent, that apart from the sustained attention of the previous study, and other nuisances a performance of Wagner imposed on who takes the art, not a lofty view of life, but as a minor accessory, in these works repugnant nature of the arguments, oblivious to our history, And even the names of the characters, exotic and unheard. Although many already know what to expect on such matters, not loose that I pick at the moment, as soon as possible to avoid excessive strain to your kind attention, which has been investigated to date about the legends Echo Wagner has had in Spain. No longer, in fact, extremely curious, check that the Huguenots literary themes of Rlgoletto, de Lucia, and so many operas in the Italian or French, are far more than a hundred times our literary tradition, popular or erudite, which constitute the fabric of the Wagnerian dramas. This will be my object, and I hope that, in large part, it must be proved beyond all doubt, whichwill also serve to encourage us to study the productions of eminent genius in whose honor we celebrate this holiday.

In this quick investigation, I will leave aside little-known works of Wagner, such as Las Hadas, the prohibition of love, Falun Mine, Frederick I, Jesus of Nazareth, The Victors, The happy family of bears, Saracens, Giuseppe White (1), not to stop but in the creations of universal fame and success, Rienzi, The Flying Dutchman, Tannhäuser, Die Meistersinger, Lohengrin, the Tetralogy, Tristan and Parsifal. Even on these, but try not to omit anything essential for transcendence in Spain of the respective legends, I shall proceed with all possible brevity. I will not fix the attention even inthe history and origins of these legends, general topic, among others, by Chamberlain, Miss Weston, and Schuré Kufferath, especially by many researchers and patients, because I could not say anything new about those ends, and my purpose is another, as I said, that summarize what you have found on the tracks of such legends in the English tradition.

(*) Lecture given at the Theatre of Comedy for the Wagnerian Association in Madrid on March 12, 1913.

I "During the days, full of care," wrote Wagner in his memoirs (2) - Blasewitz my stage in Minna, Colà Rienzi I had read the novel of Bulwer Lytton. Sintiend reborn my strength in the middle of my comforter, I was the project of writing a grand opera about that argument, I was delighted. "The opera was not finally completed until 1840, and was, indeed, the first work Wagner represented in Madrid (3). Being a purely Italian historical tradition, there is little that Spain could find about it. It is good to remember, however, that Bulwer Lytton Rienzi was already well known to our public beforethe the representation n of the tragic opera of Wagner, as he ran translated the novel in serialized in The News, a newspaper widely read in Spain 1850 until after 1870 (4). May be quoted on the same subject, the modern tragic drama in two accough and an epilogue, Rosario Acuña: the Tribune Rienzi, premiered with success at the Teatro del Circo, 1876 (5). Very little is also what I found about The Flying Dutchman (Ghost Ship), popular maritime legend, to which Wagner joined some of his memories of sailing Pillau to London. I do not know if some collection of maritime traditions, similar to those formed by Araquistain and Fernandez Duro, you will find some echo of this legend in Spain. For now I can not quote another text that the novel of Captain Marryat (1792-1848), The Flying Dutchman, translated into Castilian (6) several years before the first representation of Wagner's n our Teatro Real. II The Leye
nda of Lohengrin (work that Wagner had already written in 1847, but not shown until August 28, 1850, and which mainly used Parzival, Wolfram von Eschenbach, and the so-called Bavarian Lohengrin, an anonymous thirteenth-century published by Goerner in 1813), responds English history of the Knight of the Swan, beautiful narrative contained in Chapters 47 to 185 inclusive of Book I of the Gran Conquista de Ultramar, a work translated from French into Castilian in late or early thirteenth century of XIV (7), if not the compiler English also had before it several French poems of the cycle of the Crusades, which engages in his book.

's argument under Castilian, which is surely the most poetic texts litEnglish eratura, matched by very few in beauty of diction and greatness of thought, is as follows:

Isonberta Infanta, daughter of King Popleo (or Ponpeo) and Queen Gisanca (or genes), not wanting to enter the desire his parents, that have gripped to marry, run away from them, and entering a boat that is stranded, navigate several days to arrive at a desert, where he disembarked and where about to be devoured by dogs hunting that freedom of Count Eustace, which is the land. The Count of Inf anta love and marries her against the will of his mother, who, taking advantage of the absence of his son, named by King Liconberte (or Riconberte) Bravo for assistance in certain war, do it believe,cancer in all the battles that were made against innocent owner, and that his brother remained swan, to guide you all the places where these battles were to take effect. So the boy has since taken the name of the Swan Knight. Rainer

Duke of Saxony was occupied at the time the lands of the Duchess of Bouillon, and no one dared to ask, because it was so bold in arms, contending that none wanted him. But in time the Emperor Otto held Nimeya cuts, he appeared before the duchess, Rainer quarrels by force made him. Remitióse the matter to the trial of God, and, when everyone thought no one would be so bold that dare to deal with the Duke, it's the son of Eustace oflions and richly jeweled, and the rope was hanging otrosí fresh gold. That horn was ringing when the swan knight walked a vegada unless another; and after that I heard the voice of the horn, it was very clear and very tasty ears, the heart and walked cresciale dostanto that before ........ ......... ......... .... ... Everyone in the cibdad and started running to see that such great wonder ... While much rescibió ENPER when it came to him, and with great joy ... and it became a knight against the Swan and said to him: "Go your way, I entrust to God, and every time you need hobiere, Traimer my boat." And the swan, after what he heard, it became a place for that do veniera; So little time lost sight of all who cataban.the clothes he had, and others dressed like that he brought the first that failed in the small boat that brought him there the swan. E desyciñó santiguose sword and three times, and then took leave of ENPER and of all who were there, and made him ruler over God, and went into his skiff, and started to swim with him swan ea go very happily, so in some of time, they lost sight of, never could never of the party know. " The main foundation of the Great Conquest (which is part of the Knight of the Swan) is the History rerum in partibus transmarinis Gestarum, William of Tyre (d. 1184), written in Latin and translated into French soon after the title of Roman d 'Eracle, but the legend of the KnightJérusalem, Les Chetifs, and introduced the episodes of the Knight of the Swan, Berta and Mainetes, reminiscent of White Flowers and flower.

With regard to the history of the Knight of the Swan, it is doubtful that the arranger Castilian immediately took advantage of the poems in the cycle of the First Crusade. More verisimilar is, as I thought Fontanals Milà, taking into account a compilation in French prose, and this tilt the similarities between the English language and the text of manuscripts 781 and 12558 of the French National Library in Paris, cited by Puymaigre Count. In the manuscript version of 12558, Count Eustace is Lothair, king of a country situated close to Hungary, and Isonberta is Elioxa, the details vary, butepisodes are essentially the same as in the English version. At any rate, in the long episode of the Great Conquest can clearly two parts, as Gaston Paris has noted: the first (Chapters 47 to 68) meets a French chanson de geste, now lost, which gives Paris Isomberte title to distinguish it from other three versions of the same subject (one of the tales of Dolopathos of Juan de Haute-Seille, writing in 1190, the poem that called Elioxe Paris, and Mr. A. Todd in its edition published in Baltimore, in 1889, La Naissance du Chevalier au Cygne [ms. 12558 of the Bibl French. Nationale], and the poem he calls Béatrix and forms the first part of the Chevalier au Cygne published Hippeau). The second pairI (chapters 68 to 185) "is an exact translation of the two songs of Chevalier au Cygne and Enfances of Godefroi de Bouillon, published by Hippeau 'poems in a separate principle, but inseparable, and in that ms. 12558. The first of these two sides was probably composed after the second, to serve as his introduction (9).
The Knight of the Swan (which in its ancient origin, appears to have been a Solar god) made important memories in our literary tradition. Gayango has noted certain similarities in language between Knight and Amadis of Gaul Menéndez y Pelayo recalls, as related to several issues that the romance of the Chronicle Infantino and Rodrigo de Pedro de Corral, and it would be difficult an iESEARCH careful to point out other similarities of interest (10).

III

In biographical memories, Wagner tells how in his mind arose the idea of Tannhäuser, rather, the Venusberg, which is labeled as first thought the drama. It was late 1841, when pondering the plan of Manfredo. "Another issue, he says, suddenly seduced me. Tell them found in the popular book Venusberg, which by chance fell into my hands. Obeying the unconscious impulse that drew me towards anything that seemed Germanic, not penetrated all the charm of this slope until you have read the simple story of the old legend of Tannhäuser. I already knew, indeed, the various elements of these episodes, he had found in the PhanTannhäuser ion until flourish supporting staff in his hand. This legend, as demonstrated by Gaston Paris in a beautiful study (15), it is not German, but Italian. The location lacks Venusberg own in Germany, and is arbitrary to identify Hörselberg of Thuringia. Venus has replaced the Sibyl, and the enchanted mountain of Venus is not simply the Mount of the Sibyl, the Italian tradition refers to one of the peaks of the central Apennines, between Norcia, on the Mediterranean side, and Ascoli, on the slope of the Adriatic. The Legend of Paradise Queen Sibylla, collected by the Provencal Antonio de la Salle in 1420, in Montemonaco, and told by him in the fourth book of his Salade, forms the background of the famous book of prose, labeled Guerino il Meschino, and written by Andrea da Barberino in 1391. Tradition (which has a link originating with the Sibyl of the Aeneid) probably went to Germany as suspected Gastón Paris, through Switzerland. As for the union's name to the legend Tannhäuser cryptic, it should perhaps be written in the so-called "long tone Tannhäuser" the oldest poems in German that the legend is contained.

2. º The tradition verisimilar historical background, contained in a German poem of the late thirteenth century (16), that there was a poetic tournament six singers in the court of Landgrave Hermann of Thuringia, having to die by the hand of the executioner, the troubadour who lost the case. Involved in this struggle betweenothers, the Vogelweide Walther and Wolfram von Eschenbach, against Henry of Novalis. After this, he called to his aid to the magical Klingsor. Such is the tradition gathered by Hoffmann in his novel: Henry of Novalis (part of the series: The Serapion Brothers, whose various volumes were the spotlight for the years 1819, 1820 and 1821), where Wolfram and Henry appear love with the same lady, Matilda, niece of the Landgrave, which captivate the passionate and sensual songs of Enrique, but eventually forget him, returning to Wolfram, when it disappears the influence of the arts of Klingsor.

I need to remind you, even as per summa capita, these notions about the elements of the legend of Tannhäuser, to study, immediatelyincreasing, which of them has been known in Spain. Moreover, the spirit of the legend of the composer Wagner is personal and belongs only to him. It is the idea of salvation by love, taken in the mystical and supernatural Isabel embodied in the poem.

of the Sibyl, who by tradition attributed medieval prophecies about the birth of Jesus Christ, there are important memories in our literature: the most curious of these is undoubtedly the famous Song of the Sibyl, of which there are versions Provence ( XIV century?), Catalan and Valencian (XV and XVI), studied by Mila and Fontanals (17). Sybil also appears as one of the characters in the farce of the game of canes, Diego Sánchez de Badajoz, in the sixteenth century. But I do not knowor allusion to the legend of Mons Veneris, prior to that contained in the growing repertoire: Disquisitiones magicae, our Martín del Río (Louvain, 1599), also cited by my dear friend D. Manuel Manrique de Lara, a major study on this subject (18).









Instead data are very interesting, in our literature, about the legend of the magician or charming, the Circe that attracts men and makes them forget the world with its joys and deceptions. Apart from others, cite the narrative contained in the curious book entitled The Crotalón, consisting of the sixteenth century humanist adventurer Cristóbal de Villalón (19). One of the speakersman who guided him to an inn, whose owner, after very attentive, gave him a servant to accompany him to a castle where dwelt a niece, who was accustomed to the Knights host. Our young man stood up, and before that she would adopt the sun, came to a small and very peaceful valley, "seemed to be increased over the forest with many tall and very funny jasmine orange, that in that time communicating their fragrant blossoms , and other soft and gentle flower scent, in the valley through which, was a strong and graceful castle, which was considered the earthly paradise. " Into it, began to see all sorts of magnificence and splendor, the main highlight were some cute and beautiful ladies, "dressed in green and other lovessmall, sharp nose, that nature was his perfection. Samples, under two small valleys, the girl mouth, very fine coral, and within it, the blink of an angel lip, there are two strings of pearls brings oriental teeth ... His neck round luengo and removed, and the broad chest, full, and as white as snow ... "and I'm not recalling more words, because the author descends into excessive detail, and because his beautiful description, probably inspired the Tristan read Castilian, can and should be read in the original. Suffice to know that the gentleman is caught in the nets of his beautiful sweet hostess, not leaving until he sees his charm to become his squire high and fresh myrtle for the arts of the magician and exheyes of a Esparver,
the shrill tits that want to break brial;
So what I have concealed, "is what amazed to see.
-Ni but more you have, madam, "I can not stop."

is not, certainly, the legend of Tannhäuser, but if the same atmosphere of flesh and scorching heat that permeates the first act of the poem (22) .
The legend of the queen's palace Seville was also popular among us, from the version made in the early sixteenth century (23) of the Crown of the noble knight Mesquino Guarino. In the qual is the exploits and adventures that take place all over the world, and the purgatory of Sant Patrick, and Norza Mount, where the Sibyl. The severe authorNews of the author of his days. Norcia reaches and penetrates, against the advice of the country, in an enchanted cave. Flame in a metal door, after passing through dark and frightening corridors, and is received by the Sibyl and her ladies in a garden-like paradise. For a year, seeks to conquer the Sibyl Guarino, and he in turn, wrest the coveted secret, but, on reaching the last day, Guarino, hopeless, says goodbye to the Sybil and return to the world, marching to Rome, where Pope absolves him of his reckless journey.

Throughout the sixteenth century, the legend was well known Mesquino Guarino of our people. Probably released in book form of string, and perhaps romances, came news of all. If then hubiese composed and performed the Tannhäuser, contemporaries of Charles V and Philip II had recognized him as much as they were familiar.

addition, we were also in Spain our mysterious cave where he spent something like what the Mons Veneris (25). I refer to the famous cave of Salamanca, which gave the case to a farce of a comedy of Cervantes and Don Juan Ruiz de Alarcón. "We said that the devil allowed only seven pupils, staying with one of them at the end ... And you added have fit such a misfortune to the famous Marquis de Villena, D. Enrique of Aragon, as a student, but mocked his hellish master escapándosele of his hands and letting his shadow industry that might suggest to Hoffmann and one of its mostEi such underground grotto was correspondence with the City of any castle that there was, as another strength in the door that she retains the name of S. Gate Juan d 'Alcazar. Or fuesse mine where the city on occasion of some assedio, water traxesse d 'the river, if the ducts cut their sources, they all come from outside. I who fails in the field (which then must have been as high as the hill), the cave was discovered in the interior of those precipices are occulta. But all these conjectures are then disarmed me. I went home. He asked the mistress of the inn where he had been. I tell you as I put both hands on my head, I sigh, I said: 'Lord, one God, do not get v. thanks to that cave! Itcathedrático is the Devil, i for wages a student gets out of seven entrants. Marqués de Villena only deceived him, dexándole the shadow instead of body. But the poor Marquis suffered the trabaxo not have shade from that time, something that shakes your meat. The mode of teaching, is also possessed, then, on a chair in there hell have only seen an arm that looks like a man, the speech qual i bob without cessar; I assi i explained all evil witchcraft. The cave is sealed, as v. market has seen, but not by esso dexan entering the school by other paths. From other people, no one has dared not dare to approach that mouth d 'Hell. "

As you see, Botello de Moraes dare not reo? What would you say, knowing that the singers struggle Wartburg was the work of popular reading in Spain, in 1843?

Well it was, and, on that date was printed in Madrid a little book of 133 pages at 16. º, labeled Meistersinger Koffmaun ETA night story (sic) is nothing but a version (28 ) of the story included in The Serapion Brothers, referred to Wagner in his memoirs. There is talk of Juan Cristóbal Wagenseil, the collector of the history of Nuremberg (29); of Klingsor, "a man deeply versed in the occult", that "calculates the course of the stars and recognizes the wonderful relationships with his departure of our destiny ", who" knows the secrets of metals, plants, minerals,ndo a day trip, I drew the outline of the three acts in which enclose the action thought that argument. In the last act, I made an episode that eliminated later: Parsifal was the visit, wandering in search of the Grail, to sad, dying in his bed. Tristan, mortally wounded and I can not breathe, my spirit is identified with the character of the novel Amfortas Grail. " The work was completed in August 1859 (30).

Although Wagner was inspired, no doubt was Tristan und Isolde (1200-1220) Godfrey of Strasbourg, addressed the argument, as usual, in a very free. Deleted, and rightly, the useless role of the white hands Iseo, and reduced the drama to its most simple. The love potion (31in times of Alfonso II of Aragon. In that poem, written around 1170 and addressed to the minstrel Cabra, censoring it by playing the viola evil "and worse singing from beginning to end, and not knowing how to end the cadence used by musicians from Brittany." There is also taunts because he knows nothing

"vilan Ni, Ni
Tristan,
C 'Amavida Yceut to Lairon."

Allusions occur in Catalan literature of the XII, XIII, XIV and XV, with sure in the last of these centuries, at least, there was a Catalan version of Tristan (French), now lost. It became so popular that it did mock her story public holidays (as in the solemn act of the entry of King Martin in Valencia,year 1402.)
There are also many allusions to Tristan in Galician and Portuguese literature from the Middle Ages, one of the oldest of the King Alfonso X the Wise (1252-1284), in a rude one reads in the Coloccia-Brancuti Songbook, in which are also five Lays of Bretanha, of which the first four refer to Tristan. All these Lays are absolutely free versions of French but I do not argue the knowledge of the French novel in prose, or at least the full translation of this Galician-Portuguese language. If at the time that the Lays of Bretanha were written, there was a prose novel Galician-Portuguese, this novel was not the same today retain the text in Castilian, for the adventures that rubricsLays ace allude not appear in the Tristan we now know, even if contained in the cyclic French version (with the exception of the episode concerning the composition number II). I find no cause to strictly ensure that the prose Tristan Portuguese existed, but could not find him to deny it, but rather, it seems likely, therefore there was a Castilian Tristan, and the Marqués de Santillana, in his letter to Constable Portugal (written before 1449) says that "non long ago, any of these parts makers or troubadours, agora were Castilians, Andalusians or of Extremadura, all his works composed in Galician or Portuguese." As Castilla, the oldest reference to Tristan hallams, recorded in the Book of Good Love (completed 1343) of the immortal Archpriest of Hita. It says in the song 1703, at the end of his work: "never been so loyal Ca Blanca Flores-Flores, nin
agora Tristan is all love." Agora The adverb clearly implies that Juan Ruiz, Tristan was new at that time. Indeed, had not one, but two Spaniards Tristano in the first half of the fourteenth century and were of the most read during that century and the whole XV, decreasing its vogue after the first third of the century, when the wicked and unbearable fashion Palmerins the Amadises and replaced the old and solemn simplicity of the novels of Britain (32).

In my opinion, the legend penetratedtir, were combined two elements: a brief Tristan far more cyclical texts called first part of the French novel, and the compilation of Rusticiano of Pisa, written around the year 1270. I do not think of any way in an Italian source. Castilian

editor did write a book readable, simple and poetic language. Not satisfied with having beautifully narrated the death of the lovers, added a final chapter, written with great eloquence, which speaks of the "beauties" Iseo "beginning of the head and pump unless mienbros by other." His work was an unparalleled success, and continued to be widely read in the XV and XVI, the last of which she made five editions (beginning with theValladolid, in the year 1501). (33).

The conflict that was his subject, has always existed, and their solutions are also always identical. For some, Tristan, and all similar characters are types of immorality, for others, love should not recognize any other law than their own, and nobody has the right to oppose it. The first call upon the oath and the principle of social order and the latter, the sanctity of Love "father of gods and men." And between the two appears the popular instinct, from the time of the Decameron to the present day, placing the deceived husband in sick disgusting and ridiculous situation, as if it were his fault for his misfortune. The same legend of Tristan, King Mark attributed the horse's ears.

PFortunately for the defense or enforcement, such as love of Tristan and Isolde are quite unique and rare. For the passion of two lovers is not like ordinary, in possession mitigates her strength and even eventually annulled. It is precisely the opposite, and therein lies the secret of "brew" magical legend. Godfrey of Strasbourg understood in a way admirable in his poem: "the two lovers," says another parecíanse increasingly beautiful: .. if love remains the same, soon would eventually disappear. "

.... continued ....