ich was the cultivation of song in the same systematic
way that the mechanical arts were practised. They framed strict and
well-defined codes of rules (_Tablatures_) by means of which they
tested a singer's capabilities. As the chief aims which they set
before themselves were the invention of new tunes or melodies, and
also songs (words), it resulted that they fell into the inevitable
vice of cold formalism, and banished the true spirit of poetry by
their many arbitrary rules about rhyme, measure, and melody, and the
dry business-like manner in which they worked. The guild or company
generally consisted of five distinct grades, the ultimate one being
that of master, entrance into which was only permitted to the man who
had invented a new melody or tune, and had sung it in public without
offending against any of the laws of the _Tablature_. The subjects,
which, as the singers were honest burghers, could not be taken from
topics in which chivalric life took any interest, were mostly
restricted to fables, legendary lore, and consisted very largely of
Biblical narratives and passages.]

[Footnote 29: These words are the names of various "tunes," and
signified in each case a particular metre, rhyme, melody, &c, so that
each was a brief definition of a number of individual items, so to
speak. These _Meistersinger_ technical terms (or slang?) are therefore
not translatable, nor could they be made intelligible by paraphrase,
even if the requisite information for each instance were at hand.]

[Footnote 30: A glass divided by means of marks placed at intervals
from top to bottom. It was usual for one who was invited to drink to
drink out of the challenger's glass down to the mark next below the top
of the liquid.]

[Footnote 31: These would consist of the certificate of his admission
into the ranks of the journeymen of the guild, of the certificates of
proper dismissal signed by the various masters for whom he had worked
whilst on travel, together with testimonials of good conduct from the
same masters.]

[Footnote 32: On these great singing days, generally on Sundays in the
churches, and on special occasions in the town-house, the
"performances" consisted of three parts. 1. First came a "Voluntary
Solo-Singing," in which anybody, even a stranger, might participate, no
contest being entered into, and no rewards given. 2. This was followed
by a song by all the masters in chorus, 3. Then came the "Principal
Singing," the chief