Their deeds lose significance and in their
place we have their feelings, their emotions, to the great benefit of
the operas. After these works, however, _Hans Sachs_ (Die Meistersinger)
appeared, and although he is not mythical at all he is a fine figure
nevertheless. But in this case the plot is of little account, for the
interest lies mainly in the emotions--the only thing, it appears, which
music with its divine language ought to express.
It is true that music makes it possible to simplify dramatic action and
it gives a chance, as well, for the free expression and play of
sentiments, emotions and passions. In addition, music makes possible
pantomimic scenes which could not be done otherwise, and the music
itself flows more easily under such conditions. But that does not mean
that such conditions are indispensable for music. Music in its
flexibility and adaptability offers inexhaustible resources. Give Mozart
a fairy tale like the _Magic Flute_ or a lively comedy such as _Le Nozze
di Figaro_ and he creates without effort an immortal masterpiece.
It is a question whether there is any essential difference between
history and mythology. History is made up of what probably happened;
mythology of what probably did not happen.
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