In this article, Albert Gier contends that Wagner uses the conventions of traditional comedy to illustrate his own aesthetic theories. His libretto is based on characters and details found in Deinhardstein, Lortzing or Hoffmann. However, also he gives them different functions in turning Hans Sachs into the central character and in making him lead the game. Pogner, Stolzing, Beckmesser and even Eva act inconsiderately. Sachs makes the happy end possible in summoning Stolzing, who is not allowed to take part in the competition, to appear. At the same time, he presents the inhabitants of Nuremberg with a new type of song, more spontaneous and authentic than the masters’. In overcoming the “will-to-live” (Wahn) and in indulging in aesthetic contemplation, Sachs follows the precepts of Schopenhauer’s philosophy.
Richard Wagner, Die Meistersinger von Nürnberg
Die Meistersinger von Nürnberg, Komödie als Ideendrama