Hungersnot!, or Famine, famine!, and its beck! beck! beck!, or bake, bake, bake! This leads into the Tanz der Lehrbuben (Dance of the Apprentices). The mastersingers themselves then grandly arrive: the Procession of the Masters. The crowd sings the praises of Hans Sachs, the most beloved and famous of the mastersingers; here Wagner provides a rousing chorus, Wach' auf, es nahet gen den Tag, using words written by the historical Sachs himself, in a chorale-like four-part setting, relating it to the chorales of the "Wittenberg Nightingale" (a metaphor for Martin Luther). The prize contest begins. Beckmesser attempts to sing the verses that he had obtained from Sachs. However, he garbles the words (Morgen ich leuchte) and fails to fit them to an appropriate melody, and ends up singing so clumsily that the crowd laughs him off. Before storming off in anger, he yells that the song was not even his: Hans Sachs tricked him into singing it. The crowd is confused. How could the great Hans Sachs have written such a bad song? Sachs tells them that the song is not his own, and also that it is in fact a beautiful song which the masters will love when they hear it sung correctly. To prove this, he calls a witness: Walther. The people are so curious about the song (correctly worded as Morgenlich leuchtend im rosigen Schein) that they allow Walther to sing it, and everyone is won over in spite of its novelty. They declare Walther the winner, and the mastersingers want to make him a member of their guild on the spot. At first Walther is tempted to reject their offer, but Sachs intervenes once more and explains that art, even ground-breaking, contrary art like Walther's, can only exist within a cultural tradition, which tradition the art sustains and improves. Walther is convinced; he agrees to join. Pogner places the symbolic master-hood medal around his neck, Eva takes his hand, and the people sing once more the praises of Hans Sachs, the beloved mastersinger of Nuremberg. Criticism of antisemitism Beckmesser has been widely criticized as an antisemitic stereotype since the idea was put forward by the Marxist critic Theodor Adorno. Wagner scholar Barry Millington advanced the idea that Beckmesser represents a Jewish stereotype, whose humiliation by the Aryan Walther is an onstage representation of Wagner's antisemitism. Millington argued in his 1991 "Nuremberg Trial: Is There Anti-Semitism in