_Pogner_ and _Eva_, returning from an evening stroll, now come down the alley. Before retiring into the house the father questions the daughter as to her feelings concerning the duty she is to perform at the Mastersinging on the morrow. Her replies are discreetly evasive. The music beautifully reflects the affectionate relations between _Pogner_ and _Eva_. When _Pogner_, his daughter seated beside him under the linden-tree, speaks of the morrow's festival and _Eva's_ part in it in awarding the prize to the master of her choice before the assembled burghers of Nuremburg, the stately =Nuremburg Motive= is ushered in.
_Magdalena_ appears at the door and signals to _Eva_. The latter persuades her father that it is too cool to remain outdoors and, as they enter the house, _Eva_ learns from _Magdalena_ of _Walther's_ failure before the masters. Magdalena advises her to seek counsel with _Sachs_ after supper.
The Cobbler Motive shows us _Sachs_ and _David_ in the former's workshop. When the master has dismissed his 'prentice till morning, he yields to his poetic love of the balmy midsummer night and, laying down his work, leans over the half-door of his shop as if lost in reverie. The Cobbler Motive dies away to _pp_, and then there is wafted from over the orchestra like the sweet scent of the blooming elder the Spring Motive, while tender notes on the horn blossom beneath a nebulous veil of tremolo violins into memories of _Walther's_ song. Its measures run through _Sachs's_ head until, angered at the stupid conservatism of his associates, he resumes his work to the brusque measures of the Cobbler's Motive. As his ill humour yields again to the beauties of the night, this motive yields once more to that of spring, which, with reminiscences of _Walther's_ first song before the masters, imbues this masterful monologue with poetic beauty of the highest order. The last words in praise of _Walther_ ("The bird who sang today," etc.) are sung to a broad and expressive melody.
_Eva_ now comes out into the street and, shyly approaching the shop, stands at the door unnoticed by _Sachs_ until she speaks to him. The theme which pervades this scene seems to breathe forth the very spirit of lovely maidenhood which springs from the union of romantic aspirations, feminine reserve, and rare physical graces. It is the =Eva Motive=, which, with the delicate touch of a master, Wagner so varies that it follows the many subtle dramatic suggestions of the scene. The Eva Motive, in its original form, is as follows: