bluebeard-第3章
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front rows of an opera…house。 This is the celebrated
〃_Kilkennische_Katzen_Motiv_〃 （Motive of Mortal Combat）。 It is a syncopated
movement； and when given at the piano； is to be played furiously； first
with one hand and then with the other； till the performer is quite weary。
＇Kilkennische Katzen Motiv＇ （ad infinitum； until one is deceased）
We find all through these measures most peculiar phrases； introduced by
half…formed musical rhythms； which are a presentiment of the mental unrest
and nervous prostration of Fatima； who does not know whether Bluebeard will
kill the Brothers or the Brothers will kill Bluebeard。 She has never been
an opera…goer and does not realize that there are inexorable laws in these
matters and that the villain always dies； that he agrees in his contract to
die； no matter how healthy he may be； no matter how much he dislikes it nor
how slight the provocation。 However； this scene is made notable by the
famous 〃Suspense Motive；〃 one hundred and seven…teen bars of doubt given by
the big brasses and contra…bassoons。
There is much in this sort of programme music that is not easily
intelligible to a young man who； having purchased an admission ticket； is
wandering from back to back of one opera…box after another； but when fully
comprehended； these special phrases are replete with emotion and insight。
Several motives are so dexterously woven into one gush of melody that they
cannot be disentangled by any ordinary method； and have to be wrenched
apart by the enthusiast； who employs； when milder means fail； a sort of
intellectual dynamite to extricate the meaning from the score。 With the aid
of this lecture； which is better than an ear…trumpet and a
magnifying…glass； we can； however； trace a 〃_Schwert_Motiv_〃 （Sword
Motive）； showing the weapons used in the combat； the 〃_Glu'ckseligkeit_
_Motiv_〃 （Felicity Motive）； well named； for we must remember that Fatima is
witnessing the duel from the castle window； her heart beating high at the
prospect of widowhood； and； toward the end； the famous
〃_Ausgespielt_Motiv_〃 （Motive of Spent Strength and Spilled Blood）。
＇Glu'ckseligkeit Motiv＇
＇Ausgespielt Motiv＇
The 〃_Ausgespielt_Motiv_〃 is written in four flats； but as a matter of fact
only one person is flat； viz。： Blue…beard； who has just been slain by
Mustapha。 The other three flats must refer to the sheep accidentally hit by
the younger brothers； who aim for Bluebeard； but miss him； being
indifferent marksmen。
Why does the union of these _motive_； 〃_Bruder_Hoch_zu_Ross〃 （Brothers on a
High Horse）； 〃_Kilkennische_Katzen_〃 （Mortal Combat）； 〃_Schwert_〃 （Sword）；
〃_Glu'ckseligkeit_〃 （Felicity of Fatima）； and 〃_Ausgespielt_〃 （Spent
Strength and Spilled Blood）； when blended in one majestically discordant
whole； produce upon us a feeling of profound grief mingled with hysterical
mirth？
＇Ensemble Motiv Blaubart…Schwert…_Glu'ckseligkeit_…Leichen＇
And why do the measures grow more and more sad as they melt into the
touching 〃_Blut_auf_dem_Mond_Motiv_〃 （Blood…on…the…Moon Motive）？
＇Blut auf dem Mond Motiv＇ （slowly and with infinite pathos）
Simply because in a mortal combat somebody is invariably wounded and
sometimes killed。 Wagner sang of human life as it is； not as it might；
could； would； or should be。 From the 〃_Blut_auf_dem_Mond_Motiv_〃
（Blood…on…the…Moon Motive） we glide at once into a dirge； the 〃_Leichen_；〃
or Corpse； Motive； one of those superb funeral marches with which we are
familiar in the other music…dramas of Wagner； for the master； though not an
Irishman； is never so happy as on these funeral occasions。
＇Leichen Motiv＇
If any brainless and bigoted box…holder should ask why the 〃_Blaubart_
_Motiv_〃 is repeated in this funeral march； I ask him in return how he
expects otherwise to know who is killed？ Will he take the trouble to
reflect that these are the motives of the _Vorspiel_； and that the curtain
has not yet risen on the music…drama？
But why； he asks； do we hear an undercurrent of mirth pulsating joyously
through the prevailing sadness of this 〃Leichen_Motiv_；〃 or funeral march？
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。
