Great opera stories — Context and Discussion

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Bender, Millicent Schwab, 1876-1974 Project Gutenberg 2012 Not confirmed
Operas -- Stories, plots, etc. -- Juvenile literature Readers of public-domain and historical texts
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Words 31,025
Reading time 135 min
Text sections 4

The source record for Great opera stories — Context and Discussion measures this digital text at 31,025 words, 2 hr 15 min estimated reading time, and 4 detected text sections.

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This editorial note examines how Millicent Schwab Bender's 1912 retellings of six German operas use recurring imagery of light, nature, and thresholds to structure movement between human and magical realms, based on excerpts from the opening tale and Lohengrin.
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Goosegirl was so pure that evil could find no spot in it to lodge. As for her face, each passing year left it lovelier than the last. The sunshine was no brighter than her yellow hair, the sky no bluer than her clear blue eyes. The lone lily before the hut envied the whiteness of her skin, and the birch tree in the woods, the slenderness of her form.

Now it chanced upon a sunny afternoon in summer that the Goosegirl lay on her back in the long grass before the hut. Now and then she tossed a handful of corn to her quacking geese or played with a wreath of wild daisies. But her thoughts were far away. Her eyes were full of the wonder of things,--of the sun that shone, the brook that laughed, the flowers that bloomed, the birds that sang, and the blue sky over all. And her dreams were full of the World of Men, which she had never seen and to which she longed to go. Something within her whispered that happiness was to be found there, and the Goosegirl desired happiness above all things. And she desired kindness and love, too, although she had never heard of them, and did not know what they were.

As far back as she could remember, ever since she was a tiny little child, the Goosegirl had lived in the wretched hut. And the hideous Witch had been her only companion. The Goosegirl wondered whether all the people in the World of Men had such gruesome bodies, such ugly faces, such evil ways, as the Witch. She had never seen any one else, so she could not tell. For fear of the Witch no one had ever come that way. Winter and summer, summer and winter, it had always been the same.

The Goosegirl's dreams were suddenly interrupted by the hoarse voice of the Witch.

"Where are you, good-for-naught?" came from the doorway. "Idle, I'll be bound, when there's work to be done!"

The Goosegirl turned her eyes toward the figure of the Witch, and, familiar as it was, for the thousandth time she shuddered with disgust. The crooked back, the burning eyes peering out from under the tangled hair, the rags, the ugliness,--oh, must she always stay? She arose slowly and walked toward the door. With hands outstretched she begged the hideous creature to set her free and to let her go down to the World of Men to seek for happiness.

"I will never become a Witch," she implored. "Oh, please let me go."

The Witch's crooked mouth widened into a horrible smile. One yellow tooth stuck out.

"Not make a Witch of you, indeed! Wait and see! I'll bend your proud back!" Then brandishing her cane, she muttered savagely:

"Get to work. There's bread to knead!"

The frightened Goosegirl ran for bowl and flour, and set to work. Meanwhile the Witch took out some dark powders. She mumbled strange words over them, and while the Goosegirl, with busy hands but unseeing eyes, kneaded and kneaded and kneaded, the Witch poured the powders into the dough. Poor Goosegirl! Her bread was soon finished, but it was a foul-smelling bread, and it contained enough poison to kill a dozen men.

Soon afterward the Witch, chuckling fiendishly, took up her basket and hobbled away to the grim forest. But the Goosegirl, full of horror for the deed she had been made to do, sat motionless, staring straight ahead. Would her life never, never change? With a sigh she called to her geese and wandered back to her place in the grass. Ah, that there should be so much evil in such a beautiful world! She looked at the dancing shadows of the fluttering leaves. They were beautiful. There was beauty in the thin, blue line of smoke as it climbed lazily upward from the broken chimney. Two turtledoves cooed above her head. The sunlight shimmered upon the wings of the buzzing bumblebees and made them shine like gold. All, all was beautiful. Were people the only ugly things? The Goosegirl gazed toward the World of Men far, far below, and wondered.

Presently her fingers, wandering idly over the grass, found the wreath of daisies. Idly she placed it upon her head.

"Look at me, geese!" she cried. "Look at me! Am I ugly, too?"

With the geese at her heels, she ran swiftly toward the pool and peered earnestly into its clear depths. Her hair hung in long golden strands on each side of her face, her eyes shone like stars, her cheeks were flushed.

"Ah!" she exclaimed happily. "I am beautiful! Geese dear, I am beautiful, very beautiful!" And she gazed and gazed again.

Millicent Schwab Bender's Great Opera Stories (1912) opens each tale with a landscape that does more than set a scene: it establishes a threshold between worlds. In 'Children of Kings,' a 'lonely glade between high mountains far, far above the World of Men' frames the Goosegirl's hut as a place of exile and longing. The hut's 'bent stovepipe,' 'slanting board,' and 'broken window' are not mere decay—they signal a realm where magic and neglect coexist. Bender's prose moves deliberately from this fixed point into the girl's interior dreams, then outward to the 'World of Men' she has never seen. This pattern of spatial and emotional movement recurs across the excerpts, suggesting a structural principle: each story pivots on a character crossing from a known, constrained space into a larger, often dangerous world.

Thresholds and Transitional Spaces

The excerpts repeatedly stage crucial moments at boundaries: a glade, a forest edge, a riverbank. In 'Lohengrin,' Elsa sinks down 'beneath the sheltering branches of a friendly tree' before her vision of the knight. King Henry holds court 'beneath a giant oak on the bank of the winding river Scheldt.' These are not arbitrary settings. Bender uses them to mark shifts from ordinary time to the extraordinary. The tree in Elsa's scene is both literal and symbolic—a place of rest that becomes a portal. The riverbank serves as neutral ground where justice can be spoken. By anchoring pivotal action at such thresholds, Bender gives the reader a clear spatial cue that a transformation is about to occur.

Light as a Structural Motif

Light appears at key turning points, often in contrast to shadow or darkness. The Goosegirl's hair is 'no brighter than her yellow hair,' the sky 'no bluer than her clear blue eyes'—a natural radiance that the Witch cannot dim. When Elsa prays, 'the heavens opened, and disclosed a noble knight. Enveloped in heavenly light, this knight descended to earth.' Bender does not merely describe a vision; she stages it as a descent through light, a literal brightening of the narrative. In 'The Flying Dutchman' and 'Tannhäuser' (not excerpted in full), similar light imagery likely marks redemption or curse. This recurring visual cue helps readers track moral and emotional states without explicit commentary.

Movement Between Solitude and Community

Each excerpted tale begins with a solitary figure—the Goosegirl alone in the glade, Elsa walking 'with downcast eyes' through the forest. Bender then moves them into larger social gatherings: the King's assembly under the oak, the market square of Nuremberg (from the illustration caption). The Goosegirl's longing for 'the World of Men' is echoed by Elsa's need for a defender. This pattern suggests that the stories are structured around a character's journey from isolation to connection, often mediated by a supernatural or royal intervention. The excerpts do not reveal whether these journeys succeed, but the repeated arc implies a consistent narrative logic: solitude precedes transformation, and community is the arena where resolution must be tested.

The Role of the Natural World in Scene Shifts

Bender uses weather, time of day, and seasonal details to signal transitions between scenes. The Goosegirl's story begins on 'a sunny afternoon in summer'; Elsa's vision occurs in a 'calm and still' forest. King Henry's arrival is marked by 'pomp and ceremony' but also by the natural setting—'under the blue sky, in God's temple.' These details are not decorative. They orient the reader to the emotional temperature of each scene: sunlight for hope or innocence, stillness for prayer or revelation, open air for justice. By weaving such cues into the prose, Bender creates a rhythm that guides the reader through shifts in tone and location without abrupt breaks.

Readers approaching Great Opera Stories will find that Bender's prose rewards attention to its spatial and visual patterns. The excerpts suggest a writer who thought carefully about how to move young readers from one world to another—using light, landscape, and thresholds as guides. While the complete text may reveal variations, the consistent use of these devices across the opening tales indicates a deliberate craft. For those interested in how narrative structure can be made visible, this edition offers a clear example of early twentieth-century storytelling technique.

There are evenings when I close one volume and reach for another, and so it was with Great Opera Stories and an old friend, Wagner and His Music-Dramas — Themes and Context. Both speak of thresholds—that hush before a swan departs, light pooling on water. I find myself returning to them, the way one revisits a familiar room.

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