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libretto。 Strauss's symphony is worked out along more tranquil lines； to be
sure； but it is only the history of a single day of married life and a day
arbitrarily chosen by the composer。 It is conceivable that there may have
been other days！
The incredulous ones urge that Wagner would never have been drawn to the
Bluebeard myth as a foundation for a libretto； but for myself I regard its
selection as a probable reaction； violent； no doubt； from the composition
of Parsifal。 In Parsifal the central themes and the unavoidable conclusion
are derived from outgrown beliefs that have long since ceased to influence
the heart of mankind。 Parsifal is medieval； mystic； rapt； devout。 Its
ideals are those of celibacy and asceticism； the products of an age whose
theories and practices as regards sex…relationships can have no echo in
modern civilization。 What more natural than that Wagner should fling
himself； for mental and emotional relief； into a story throbbing with human
love and marriage？ Neither would some calm domestic drama serve； some story
of the nursery or hearth…stone； dealing with the relations of one fond
husband and father； one doting mother and child。 As a contrast to the
asceticism and celibacy of Parsifal we have in Bluebeard rampant and
tropical polygamy； fervent； untiring connubialism。 The ardent and
susceptible Solomon might have been a more dignified hero； one would think；
but； although he could furnish wives enough to properly fill the stage； his
domestic life was not nearly as varied； as thrilling； and as upset as
Bluebeard's； whose story makes a well…nigh invincible appeal to manager；
artists； and subscribers alike； and； for that matter； is as likely to be
popular with box…holders as with the gallery…gods。
This master work enunciates the world law that Woman （symbolized by Fatima；
Seventh Wife； singing actress） is determined to marry once at any cost； and
that Man （symbolized by Bluebeard； baritone） is determined； if he marries
at all； to marry as thoroughly and as often as possible。 It holds up to
scorn the marriage of ambition and convenience on the one hand； but on the
other； pursues with wrath and vengeance the law…breaker； the indiscriminate
love…winner； the wife…collector and wife…slayer； and； although women still
have a strange and persistent fancy for marriage； they might sometimes
avoid it if they realized that a violent death were the price。
We must first study the musical construction of the overture with which the
music…drama opens； as it is well known that Wagner in his Preludes prepares
the spectator's mind for the impressions that are to follow。 Several of the
leading motives appear in this _Vorspiel_ and must be appreciated to be
understood。 First we have the 〃_Blaubart_motiv_〃 （Bluebeard Motive）。 This
is a theme whose giant march gives us in rhythmic thunders the terrible
power of the hero。
＇〃_Blaubart_motiv_〃＇
The 〃_Blaubart_motiv_〃 should be constantly kept in mind； as it is a clue
to much of the later action； being introduced whenever Bluebeard budges an
inch from his doorstep。 We do not hear in it the majestic grandeur of the
Wotan or Walsungen motifs； and why？ Simply because it was not intended to
illustrate godlike power； but _brute_force_。
Now if this were all； we had no more to say； but listen！
＇Immer…wieder…heirathen Motiv＇
What does this portendthis entrance of another theme； written for the
treble clef； played with the right hand； but mysteriously interwoven with
the bass？ What but that Bluebeard is not to be the sole personage in this
music…drama； and we judge the stranger to be a female on account of the
overwhelming circumstantial evidence just given。
Bluebeard； when first introducedyou remember the movement； one of somber
grandeur leading upward to vague desire was alone and lonely。 Certainly the
first； probably the second。 If his mood were that of settled despair；
typical of a widower determined never to marry again no matter what the
provocation； the last note of the phrase would have been projected
_downward_； but； as you must have perceived； the melody terminates in a
tone of something like hope。 There is no assurance in itdo not
misunderstand me； there is no particular lady projected in the musical
textthat would have been indelicate； for we do not know at the moment
precisely the date when Bluebeard hung up his last wife； but there _is_ a
groping discontent。 At the opening of the drama we have not been informed
whether Bluebeard has ever been married at all or only a few times； but we
feel that he craves companionship； and we know when we hear this
〃_Immer_…_wieder_…_heirathen_Motiv_〃 （Always About to Marry Again Motive）
that he secures it。 The sex created expressly to furnish companionship will
go on doing so； even if it has to be hung up in the process。
Look again at the second theme； the 〃_Immer_…_wieder_…_heirathen_Motiv_〃
（Always About to Marry Again Motive）。 Do you note a mysterious reflection
of the first theme in it？ Certainly； it would be evident even to a
chattering opera…party of the highest social circles。 But why is this； asks
the sordid American business man； who goes to the music…drama absolutely
unfitted in mind and body to solve its great psychological questions。 Not
because Wagner could not have evolved a dozen _Leit…Motive_ for every
measure； but for a more exquisitely refined and subtle reason。 The wife is
often found to be more or less a reflection of her husband； especially in
Germany； therefore an entirely new and original motive would have been out
of place。 It is this extraordinary insight into the human mind which brings
us to the feet of the master in reverential awe； and it detracts nothing
from his fame that his themes descriptive of average femininity would have
been quite different had he written them for the women of this epoch。 The
world moves rapidly。 This motive slips with a series of imperceptible
musical glides into the 〃_Siebente…Frau_Motiv_〃 （Seventh Wife Motive）：
Bluebeard enters well in advance； Fatima； contrapuntally obedient； coming
in a little behind。
＇Siebente…Frau Motiv＇
This Fatima； or Seventh Wife Motive seems to be written in a curiously low
key if we conceive it to be the index to the character of a soprano
heroine； but let us look further。 What are the two principal personages in
the music…drama to be to each other？
If _enemies_； the phrase would have been written thus： ＇separation of 5
octaves＇
If _acquaintances_； thus： ＇separation of 3 octaves＇
If _friends_； thus： ＇separation of 1 octave＇
If _lovers_； thus： ＇separation of less than one octave＇
the ardent and tropical treble note leaving its own proper sphere and
nestling cozily down in the bass staff。 But the hero and heroine of the
music…drama were husband and wife； therefore the phrases are intertwined
sufficiently for propriety； but not too closely for pleasure。 We might also
say； considering Fatima's probable fate； that we cannot wonder that she
sings in a low key； and the exceedingly involved contrapuntal complications
in which the motive terminates hint perhaps at Wagner's opinion on the
momentous question；〃Is marriage a failure？〃
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