Simply because we cannot be expected to feel the same unmixed grief at the
death of a wife…murderer as at the death of a wife…preserver！ Ah； where
shall we find again so subtle a reading of the throbbing heart of humanity！
The 〃_Schwert_Motiv_〃 mingles again with the haunting strains of the
half…sad； half…glad 〃_Leichen_Motiv_；〃 until the _Vorspiel_ ends abruptly
with a single note of ineffable meaning； thus：
＇Tod und Ho'lle Motiv＇ （off the keyboard to the left）
This is very interesting to the student； and means much； if it means
any…thing。 The sword of the elder brother； Mustapha； has gone through
Bluebeard； if not the swords of the other Brothers。 This； you say； might
not have been necessarily fatal； since those hardy ruffians of a bygone age
were proof against many a stab； but in this case the sword of the heroic
Mustapha was accompanied by the killing 〃Schwert Motiv；〃 consequently the
villain is dead。
But what has become of him？ We have the one clue only； which will be known
by all students in future as the 〃_Tod_und_Ho'lle_ _Motiv_；〃 just given
above： Bluebeard has gone where we will not follow him unless we are
obliged。 Is this asserting too much？ Alas； it is only too evident。 If it
had been Wagner's intention to refer to the glorious immortality of a
godlike hero； we should have had the exquisite strains of a heavenly harp；
thus：
＇rising arpeggios＇
or the whir of angels' wings； thus：
＇trills off the right…hand end of the keyboard＇
And a final significant note； thus：
＇a good 1 ？inches above the treble staff＇ （Stretch the keyboard a little
if necessary and play a half； if there is not room for a whole note。）
whose piercing sweetness and dizzy altitude would have symbolized Heaven；
or at least _Walhalla_。
Alas； it is all too plain。 We have this：
＇1 inch below the bass staff＇
enough in itself to show his whereabouts； and as if that were not enough；
this：
＇_Verdammungs_Motiv_＇ （Allegro frantico。） ＇2 dissonances； ？and 1 inches
below the bass staff＇
to show that he is uncomfortable！
It will be interesting for the student to note the difference between the
〃_Verdammungs_Motiv_〃 of 〃Bluebeard〃 and the〃 Damnation Motive〃 of Wagner's
earlier opera； 〃Tannha'user。〃
＇Damnation Motive＇
Both are strong； tragic； and powerful； but the sins of Bluebeard are gross
and those of Tannha'user subtle； consequently the peril of each is
foreshadowed in its own way； it being very clear that Bluebeard's fate is
final； while Tannha'user； as we know； is saved by the spiritual influence
of Elizabeth； a very different lady indeed from the frivolous and mercenary
Fatima。
The plot of this music…drama itself is made beautifully clear by this
_Vorspiel_ and lecture…recital； so that even a mother and child at a
matine'e can follow the tone…pictures without difficulty； but the libretto；
which is a remarkable specimen of Wagner's alliterative verse； only helps
the more to rivet attention and compel admiration。 I have given you an idea
of the brief overture； and the opera itself opens with a somber recitative；
descriptive or symbolic of the Dark Ages of Juvenile Literature。
RECITATIVE
〃The Dark Ages of Juvenile Literature do not afford a chronicle of greater
atrocity！
〃Than that furnished by a very glum； grim； gruesome； gory； but
connubially…minded gentleman； whose ugly blue beard was a perfect
monstrosity！
〃He also had an unfortunate predilection for leading unattached ladies to
the altar； constantly marrying wives； six wives； successively one after
another； on a regular railroad of matrimonial velocity！
〃But； finding them _in_toto_； all very so…so； determined to turn each one
of them into a good woman by cutting off her head！
〃As a punishment for the most unmitigatedly determined and persevering
female curiosity！〃
（With naivete'） 〃But to our tale！〃
The 〃tale〃 introduces the lovely； luckless Fatima； sitting at her cottage
window； dreaming the dreams of girl…hood。 She has received Bluebeard's
message of love； and is awaiting his coming as the hero of her heart's
romance。 This 〃_Traum_〃 theme is almost precisely like the 〃Guileless Fool
Motive〃 of 〃Parsifal；〃 and the application to Fatima is unmistakable。
ARIA
〃Within sight of his castle； a short hour's ride；
〃An impecunious old lady lived； two marriageable and impecunious daughters
beside；
〃Whom Bluebeard had seen and at love's highest pitch
〃Sent to say he would marry； he didn't care which！
〃Sent to say he would marry； he didn't care which！〃
We now have Bluebeard's triumphal journey toward Fatima's cottage； from
whence he is to bring her as his bride。 If this brutal bigamist had any
preference it was for Anne； Fatima's younger sister； but he knew that it
was only a matter of a few weeks anyway； so there is not the slightest hint
in the music of anything but the tempered joy with which the accustomed
bridegroom approaches the familiar altar。
We have the 〃Blaubart Motiv〃 again here； and we must not be disturbed to
find it heralded thus：
（noisily and fussily： Repeated deep notes）
We find the same thing later on。 This is merely an introductory phrase； the
〃_Losgehenlassen_Motiv_〃 （See Me Getting Ready to Go Motive）。 Here we note
Wagner's sublime regard for truth and realism。 Does Bluebeard godoes
anybody gowithout getting ready to go？ Certainly not； yet they have gone
for years when…ever they liked； in the shiftless operas of the Italian
school； without the least preparation。 They would even come back before
they went； if it were any more pleasing； pictorial； or melodious。 It took a
heroic genius like that of Wagner to return to the simple； eternal truth of
things。 We have a striking example here of Wagner's power of modifying and
inverting a motive； carrying it from key to key； giving it forwards and
backwards； upside down and other…end…to； according to the feeling he wishes
it to express； whether it be love； rage； desire； impatience； ardor； or what
not。 The 〃_Losgehenlassen_Motiv_〃 is simplicity itself when it first
appears in C major （see motive）。 But Bluebeard's exits are many partly
because his entrances are so numerousand for every exit this motive
conveys a new meaning。 Blue…beard is always getting ready to go； but with
what different purposes in mind！ He goes for pastime and for passion； he
goes for wooing and for wantoning； for marriage and for murder。 He goes in
D sharp with pomp； pride； and power； and we can distinguish the tread of
his servants' feet； the clatter of arms； and the hurrying together of his
escort and retinue。 He goes again in B flat minor； stealthily and
unattended； the orchestra giving the motive with muted violins and subdued
brass。 We seem to hear naught but the soft pad…pad of his felt bedroom
slippers on the marble steps； and we murmur to one another： 〃What does he
propose to do now？
We have next the 〃Dragon；〃 〃Elephant；〃 and 〃Tiger〃 _motive_： the 〃Dragon
Motive〃 being intentionally reminiscent of the one in 〃Siegfried。〃
There is not in the entire range of modern music anything more impressive
than this splendid journey of a barbaric prince toward his chosen victim。
No stage picture could be more dazzling than the one brought before the
mind's eye in the majestic； munificent measures that herald the pageant：
ARIA
〃And true to his message the lover did come
With cymbals and horns and a big Indian drum！
The measures that follow these describe the tiger swinging on behind the
triumphal cab。 This is a delicious whimsicality； and the music is as gay
and sportive as anything in 〃Die Meistersinger。〃
ARIA
〃And an elephant； huge； to his cab。。。 was confined。〃。。。。
How the character of Bluebeard stands out in these passagesBluebeard；
morbid； erotic； megalophonous megalomaniac； with his grandiose air and
outlandish accoutrements！
It seems odd that rumors of his matrimonial past had not reached Fatima；
for the libretto tells us （authorized opera…house edition； not the one sold
on the sidewalk） that his castle was only an hour's ride distant。 In any
event； one would think the sight of the lover's approach； with lions and
elephants in attendance and a tiger hanging on behind the chariot； might
have shown Fatima that； although Bluebeard might be admirable as an advance
agent for a menagerie； he would hardly be a pleasant fireside companion。
However； it was the old story！ Moved by love； ambition； poverty； ennui； or
what not； Fatima lost her head； as all Bluebeard's previous wives had done；
both before and after marriage； and left the humble home of her childhood
for the unknown castle。 Simple chords give us this information thus：
（Semplice； piano for the Humble Home； Agitato； fortissimo for the Unknown
Castle。）
Then comes the 〃_Liebesgruss_Motiv_〃 （Love's Greeting Motive）。 No single
instrument can give this exquisite theme。 The whole symphony of human
nature seems to rise and spread its wings in a glorious harmony of pairs
and twos of a kind melting in passionate octaves and triplets。 The
groping； ardent； distracted； thwarted； but ever protesting bass； set
against a coquettish； evasive； yet timidly yielding treble； the occasional
introduction of a mysterious minor in the midst of a well…authenticated
major； gives us an intimation that wooing is not an exact science。
Next come the 〃_Hochzeitsreise_und_Flitter_Wochen_Motive_〃 （The Bridal Tour
and Honeymoon motives）。 Here are harp _glissandos_； here are voices
soaring； voices roaring； voices darting； voices floating； weaving an
audible embroidery of sound。 They make up the most exquisitely tender scene
of the opera； and arc especially interesting to us in America； since they
are built upon one of our national songs。 This can only be regarded as a
flattering recognition of our support of German opera in this country。
ARIA
〃Midst the treasures of his palaces； dee…lighted to roam；
〃Sister Anne with fair Fatima explored their new home！
〃Home！ Home！ Sweet； sweet Home！
〃There's no place like home when a maid's too poor to roam！〃
It is later on in this act that we have the celebrated 〃Hope Motive；〃 a
marvelous series of tone…pictures so novel and sensational that many box…
holders are expected to drop in at te