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 Wagner's 
 Nibelaijgen Rid 
 
 iJrei.a ©^incjoortfi.
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 GIFT IN MEMORY OF 
 
 Squire Coop
 
 OPINIONS ABOUT THIS BOOK. 
 
 Fro?n Professor Ebenezer Prout, B.A., Mus.D. of 
 Dziblin University, and of the Gtiildhall School of Music. 
 — " I can honestly say I like it exceedingly. It gives the 
 best, simplest, and clearest outline I have yet seen of the 
 poem of the ' Ring.'" 
 
 From Alfred Schulz-Curtius, Esq., London Agent 
 for the Bayreiith Festivals, and organiser of the Wagner 
 Recitals in London. — " It is the best and most exhaustive 
 analysis of his work that I know of, and a great help to any 
 one who wishes to penetrate into the deeper meaning of it." 
 
 From Walter Damrosch, Esq., the leadim^ exponent of 
 Wagnerism in the United States. — "Perhaps the cleverest 
 analysis of the Nibelungen tetralogj' that has been published, 
 and will be a great help to students. . . . The classifications 
 are very original, but so simple that a child could understand 
 them." 
 
 — ♦ — 
 
 Foi Press Notices see end of Volume.
 
 Ube lEpic of Sounbs^
 
 FOURTH TJ/OUSAA'D.
 
 TO 
 
 %ctrn ^iesfrteb HOJagner 
 
 THIS LITTLE WORK 
 IS RESPECTFULLY DEDICATED 
 
 {wiiA the gracious consent of Fran Cosima Wagner).
 
 TABLE OF CONTENTS. 
 
 Preface 
 
 Analytical Introduction 
 Note to the Rkadrr 
 The NiiiKLUNGEN Ring— 
 
 1. The Riieingold 
 
 2. The Walkure . 
 
 3. Siegfried 
 
 4. gotterdammerung 
 The Motives 
 
 Index 
 
 PAGE 
 
 i.\ 
 
 XVIU 
 
 3 
 
 33 
 
 73 
 
 '15 
 
 159 
 
 178 
 
 VI
 
 Music 
 Library 
 
 HT 
 
 /oO 
 
 PREFACE TO SECOND EDITION. 
 
 For being enabled to issue a second edition of 
 my little work so soon after its first publication, 
 — and at a moment when we are looking forward 
 with pleasurable anticipation to a series of un- 
 curtailed performances of the " Ring " at Covent 
 Garden, — I feel that I am principally indebted 
 to the kindly interest taken in it by many friends, 
 and to the generous welcome accorded to it by 
 my lenient reviewers in the Press. To one and 
 all I beg to tender my respectful thanks. 
 
 London, March 1S98.
 
 Through the deep caves of thought I hear a 
 voice that si tigs." 
 
 Oliver Wendell Holmes. 
 
 •' O glad, exulfifig, ciilviinating song." 
 
 Walt Whitman. 
 
 ■^ohv<pXoi(ri2ou,
 
 PREFACE. 
 
 This little work I venture to offer to those who 
 may desire to have the story of the "Ring" laid 
 before them in a simple and, as I hope, straight- 
 forward manner. Commenced in the autumn of 
 1895, ^vith the idea of bringing it out prior to 
 the Bayreuth festival of the summer of 1896, — 
 which was held in honour of the twentieth anni- 
 versary of the first performance of the "Ring," 
 under Wagner's own direction, — its production was 
 delayed through travelling arrangements. 
 
 in these days, when so much literature on 
 Wagner and his creations already exists, the ap- 
 pearance of another work on the subject, and 
 especially of so elementary a treatment of it as 
 is contained in this book, might seem almost un- 
 warranted. But my excuse for entering on a
 
 X PREFACE. 
 
 field, which has ahcady been so widely explored 
 in so many different directions, and by persons of 
 such various nationalities, is, that, so far as I have 
 yet seen, none of these writers has kept near 
 enough to the outskirts of this vast territory, to 
 lend a helping hand to the new-comers, who may 
 also desire to investigate its marvels and mysteries. 
 For I think that the most fervent Wagner-lovers 
 will not deny that appreciation of the master is an 
 art, and one which demands a certain amount ot 
 careful study. Not only from my own experience, 
 but also from conversations with many English 
 and Americans, who had witnessed the ^Vagner 
 representations at Bayreulh and Munich, 1 found 
 that disa])pointmcnt and a lack of appreciation 
 were often evinced by those who had attended 
 these performances without any previous prepara- 
 tion, and who had consequently come away with 
 but a confused idea of what they had seen and 
 heard. And this is, perhaps, more frequently 
 the case with regard to the " Nibelungen Ring,"
 
 PREFACE. xi 
 
 than to any of the master's works ; for, in this 
 drama, the plot is so involved, that, at a first hear- 
 ing, it is almost impossible to grasp it in its 
 entirety, even with the help of text and score, — of 
 both of which a preliminary study is almost 
 essential to an intelligent and appreciative enjoy- 
 ment of the whole. 
 
 Even so recently as last December, in a review, 
 which appeared in one of the leading London 
 daily papers, of a fresh work on Wagner, the 
 reviewer intimated that there was still room for a 
 book, intended for the general reader, which 
 should relate the stories of the ^\'agner dramas 
 in narrative form, "using only the dialogue and 
 scenic descriptions of Wagner," and treating the 
 matter "as a poetical whole." This statement 
 seemed to coincide with my own experience, and 
 these words of the reviewer describe, almost 
 exactly, the object which I had in view, and the 
 manner in which I have tried to carry it out, in 
 relating the story of the " Ring." In the nana-
 
 xii PREFACE. 
 
 live, I have kept as closely as possible to the 
 Wagnerian conception throughout, and have en- 
 deavoured to give a plain and impartial account 
 of the whole, with the object of helping the reader 
 to such a clear and unprejudiced comprehension 
 of the drama, as shall enable him to form his own 
 judgment, after witnessing an unabridged perform- 
 ance of it on the stage. 
 
 It has also been my aim to avoid, as far as 
 possible, any expression of personal opinion ; 
 and I have no wish to join in the fierce contro- 
 versy, which still rages, both in England and 
 abroad, round the Wagnerian drama. It is true, 
 that when, in the October number of Cosmopolis 
 (1896), I read the confession of Professor Max 
 MiiUer, that, though he had " passed through a 
 long school," he " could never learn to enjoy 
 Wagner except now and then in one of his lucid 
 intervals," I had the courage to feel surprise, 
 tempered, of course, with the deference due to 
 so distinguished and universally gifted a man.
 
 PREFACE. xiii 
 
 I then, however, became more convinced than 
 ever, that such enjoyment is quite a matter of 
 temperament, or even of habit ; for, to quote 
 the Right Hon. gentleman again, " there is habit 
 in music." 
 
 When we have " grown into, or grown up to " 
 Wagner, perhaps we shall not experience that 
 sense of fatigue, after seeing one of his dramas, 
 of which so many people complain. In any 
 case, surely every kind of amusement brings with 
 it a certain amount of fatigue, which is generally 
 in proportion to the duration of the enjoyment. 
 But if we can hear Wagner under the conditions 
 which he himself has prescribed ; — that is to say, 
 in a theatre which, during the performance, is 
 completely darkened, save for the stage ; in which, 
 also, the distracting movements of the orchestra 
 do not come between audience and actors ; and 
 where, between each act, an hour is allowed for 
 rest and refreshment in the open air ; — then the 
 strain on the nerves, and the consequent amount
 
 xiv PREFACE. 
 
 of fatigue, will necessarily be minimised. And 
 is not every pleasure, which really deserves the 
 name, worth some amount of trouble on our part, 
 to acquire it ; and, as regards its extent, in direct 
 proportion to the apprehension of it, gained by 
 that trouble? At all events, it seems a matter of 
 necessity, that the judgment which we only 
 inwardly form, and a matter of fairness, that the 
 judgment which we outwardly pronounce, should be 
 in that proportion. I have not unfrequently met 
 with people, even "musical people," who "don't 
 like Wagner," and who, when asked the cause of 
 their dislike, have been forced to admit that they 
 had had no ade(iuate opportunity of judging him 
 for themselves. 1 knew one lady, who was of 
 this opinion before ever she had listened to a 
 note of his music played by an orchestra; and 
 her conclusions had been derived from what she 
 had heard of his works performed on the piano. 
 
 Furthermore, in judging ^Vagner, we have to 
 take into consideration the threefold character of
 
 PREFA CE. XV 
 
 the master's creations. To understand Wagner, 
 the musician, we must be acquainted with Wagner 
 the poet, and Wagner the philosopher. Each is 
 the complement of the other; and, though the 
 musician may appeal more to some natures, and 
 the poet to others, it is impossible to separate 
 them, or fully to appreciate the one apart from 
 the other. In order, therefore, to give the reader 
 some slight guidance through the musical part of 
 the drama, I have endeavoured to describe, in 
 the text, the guiding themes, or what are generally 
 known as " Motives." And through the great 
 generosity and courtesy of Herrn E. Schott's 
 Sohne, the publishers of the " Ring " at Mainz, I 
 have been enabled to add, at the end of the 
 volume, a fairly full selection of the leading motives 
 themselves. 
 
 The analysis, which precedes the narrative, is 
 intended as a sketch of the larger outlines of the 
 whole drama. It may, perhaps, seem to contain 
 an unnecessary amount of repetition ; but this is
 
 I < 
 
 xvi / : PRE FACE. 
 
 almost unavoidable in the endeavour to make 
 clear the general plot, and the various relations 
 and significances of i)ersons and things, before 
 entering on a more detailed account, the greater 
 complexity of which might, without some kind of 
 analytical introduction, prove rather confusing to 
 the reader. 
 
 I hope, therefore, that this little work, in spite 
 of all its faults, may become useful to those who 
 are not yet acquainted with the great work of 
 the great master, and assist them to enjoy, or, 
 at least, to judge fairly and comprehensively, the 
 living representation of the whole, or any part, of 
 the " Ring," at which they may happen to be 
 present. 
 
 Last, but very far removed from the least, of 
 pleasant duties, it remains to me to tender re- 
 spectful thanks to those who have so kindly 
 contributed to the ease of my task : first, to Frau 
 Cosima Wagner, of Hayreuth, for her gracious 
 permission to tell the story : then, once more, to
 
 PREFACE.-^ xvii 
 
 Herrn P». Schott's Sohne, of Mainz, for their 
 consent to reproduce, from the piano score, the 
 notation of the leading motives : to the librarians 
 of the Staatsbibliothek at Munich, and of the 
 Bibliothhiue Natiotialc at Paris, for placing the 
 literature of the subject at my disposal : and to 
 M. Wekerlin, the chief librarian of the Conservatoire 
 de Musiqiie in Paris, for allowing me to consult 
 the orchestra score. 
 
 London, Alay 1897.
 
 of m 
 (UtBefun^en (Ring. 
 
 The contrast of the two Powers which rule the 
 world; — the Power of Love and the Power 
 of Gold.
 
 (^nctfgticaf 3^^^<5^«ction. 
 
 THE RACES. 
 
 Wagner supposes the primitive existence of four distinct 
 Races, inhabiting the world, viz.. 
 
 The Gods ; 
 
 The Giants ; 
 
 The Nibelungen, or Dwarfs; 
 
 The Rhine-daughters. 
 
 And at a later stage (by subsequent creation) of two other 
 Races, viz., 
 
 The Walkuren ; 
 
 The Heroes and Heroines. 
 
 THE CHARACTERS OF THESE RACES. 
 
 1. <t3e (Bobs 
 
 Are the noblest and highest race. 
 
 2. ^^e (Btanfa 
 
 Have strength, 
 
 But lack cunning. 
 
 They hate what is pure and noble, 
 
 And are hostile towards the gods. 
 
 3- Ctje ()ti6efun0en, or ©warfe 
 
 Are very cunning. 
 
 They hate what is pure and noble, 
 
 And are bitterly hostile towards the gods.
 
 XX ANALYTICAL LNTRO DUCT/ON. 
 
 {Their work is to fashion into shape the gold, which they 
 find in the bowels of the earth.} 
 
 Arc of a joyous and guileless nature, 
 Incapable of entertaining suspicion or hatred. 
 But they are susceptible to sorrow, 
 And desirous of annulling the power of evil. 
 
 Are warlike, brave, and compassionate. 
 
 6- ^V)t %txot& onb %txoints 
 
 Are of two classes. 
 a. Those, who are of directly divine origin. 
 
 Are noble, pure, and brave. 
 Ik Those, who are of directly human origin. 
 
 Exhibit the mixed qualities of ordinary human nature. 
 
 THE PLACES ORIGINALLY ASSIGNED TO THE 
 PRIMITIVE RACES. 
 
 On the Heights dwell the Gods. 
 
 On the Earth's Surface dwell the Giants. 
 
 In the Ground under the Waters dwell the Nibe- 
 
 lungen. 
 In the Waters of the Rhine dwell the Rhine-daughters. 
 
 THE PLACES ASSIGNED TO THE LATER 
 RACES. 
 
 Wai.hall is inhabited by the Walkiiren. 
 
 The Earth is inhabited by the Heroes and Heroines.
 
 ANALYTICAL INTRODUCTION, xxi 
 
 DRAMATIS PERSONS. 
 (Bobs. 
 
 WOTAN, the first of the gods. 
 LOGE, the god of Fire. 
 DONNER, the god of Thunder. 
 Froh, the god of Joy. 
 
 (BobbeeeeB. 
 
 Fricka, the goddess of Marriage. 
 Freia, the goddess of Love. 
 Erda, the goddess of the Eartli. 
 
 SlEGMUND,-\ p J. . • • 
 
 I of divine origin. 
 Siegfried, | 
 
 GUNTHER, 
 HUNDING, 
 
 of mortal origin. 
 
 
 i^erotneB. 
 
 Sieglinde, of divine origin. 
 GUTRUNE, of mortal origin. 
 /'BrIJNNHILDE, 
 
 Waltraute, 
 
 Gerhilde, 
 Ortlinde, 
 Schwertleite, 
 Helmwige, 
 
 SlEGRUNE, 
 
 Grimgerde, 
 ^rossweisse, 
 
 of divine origin. 
 
 t^t (Btanffi 
 
 P'afner. 
 Fasolt.
 
 xxii ANALYTICAL INTRODUCTION. 
 
 t^c QttBefuttgen. 
 
 ("Alberich. 
 
 
 Mime. 
 
 ^A Chorus of Dwarfs. 
 Hag EN. 
 
 Flosshilde. 
 woglinde. 
 
 Wellgunde. 
 
 ^3e ^3ree (TtornB. 
 
 C3oruB of (Bunf^er'B (PaoBafe. 
 
 (Bufrune'B (^ffenbanfB. 
 
 RELATIONSHIPS. 
 (;;/.= marriage. i. = issue. ) 
 
 f^ofan'B f^'^'"^'^^ C^^^ ^'^^'^ ^"'^ /.3w/«/ wife). 
 
 , J Erda. 
 
 TajtioCB. (^ ,^ Mortal Woman. 
 
 aEkunnhilde (by Erda). 
 nrofail's I The Rest of the Walkuren. 
 ^^ifiren. The Walsung Twins (by a Mortal 
 ^ Woman). 
 
 (^rbci'B /Brunnhilde. 
 <5C3ifbren. IThe Three Norns. 
 ^^e nrafBung /Siegmund. 
 
 ^WinB. ISlEGLINDE. 
 
 ^Hunding (her lawful husband). 
 ^legttnbe. JsiegMUND (her brother and lover). 
 
 ^iegmunb. j - siegfrteu. 
 ^tegnnbe. ' 
 
 _, , <- . V ^w- BrUnnhilde. 
 ^.egfneb. {,,,. ^utrune.
 
 ANALYTICAL INTRODUCTION, xxiii 
 
 ■m. Siegfried. 
 
 \m. GUNTHER. 
 
 X" fAUJERIClI. 
 
 ^ I Mime. 
 
 ■ @ 
 
 Q^rofljera. 
 
 ^ TFafner. 
 ^ \ Fasolt. 
 
 Q^rof0er /'Gunther. 
 anb j 
 
 ^IBfer. ' GUTRUNE. 
 
 Alberich. 
 
 I 
 
 i. Hagen. 
 
 Hagen is half-brother to Gunther and Giitrune. 
 
 THE ZONES OF ACTION. 
 
 Walhall, the castle of the gods, on the mountain tops. 
 The Earth's Surface, which includes 
 
 a. Riesenheim, the home of the giants. 
 
 b. The Banks of the Rhine. 
 
 c. The Gibichung Castle, by the Rhine. 
 
 d. Brunnhilde's Rock. 
 
 e. The Primeval Forest. 
 The Waters of the Rhine. 
 
 Nibelheim, the underground home of the dwarfs. 
 
 IMPERSONATIONS. 
 Stupidity. Sftfner. 
 
 Weakmindedness. (^wwi^tx. 
 
 » * 
 
 H.vie. %<^%t\\.
 
 xxiv ANALYTICAL INTRODUCTION. 
 
 Treachery. 
 
 (^f6enc0, QVltmc, (^\\i) %(xzt\\. 
 
 Deceit. 
 
 CKTltme anb %o.(i,t\\. 
 
 Cunning. 
 
 (^f6encl3, (IVlime, anb %o^%t\\. 
 
 Cruelty. 
 
 ®f6enc3. 
 
 Intrigue. 
 
 ho%t. 
 
 Cowardice. 
 
 (Wtme. 
 
 Instability. 
 
 ^^tegfncb. ^ 
 
 Fear. 
 
 -^ofan. 
 
 Anger. 
 
 n2?ofan 9,\\>> Q|riinn3tfbe. 
 
 Anxiety. 
 
 '^ofan. 
 
 Desire. 
 
 (Bufrune. 
 
 « * * 
 
 Ambition. 
 
 •Wofcin, ^tesfneb, (x\\i> (^ffiertdi. 
 
 Power. 
 
 TTofan anb (^fBeric^. 
 
 Strength. 
 
 ^iegfncb. 
 
 Courage. 
 
 ^iegfrieb anb (^f6enc3. 
 
 Justice. 
 
 'TTof an. 
 
 * * « 
 
 Youth. 
 
 Sreta. 
 
 Joy. 
 
 * -• * 
 
 Confidence. 
 
 Q|runn3tfbe anb (Bunf^er. 
 
 Artlessness. 
 
 Ctje (Ht3ine;baus5fer6. 
 
 » ^s- * 
 
 Sorrow. 
 
 Q^riinnljtfbe, ^iegmunb, anb ^icg 
 
 
 ft'nbe. 
 
 Despair. 
 
 'Wof an. 
 
 Tenderness. 
 
 nX'ofan. 
 
 Calm. 
 
 nOJofan. 
 
 Resignation 
 
 . (^ofan. 
 
 « * * 
 
 Wisdom. 
 
 (grba anb Q^riinngtfbe. 
 
 Foresight. 
 
 (Srba anb G3runn6tfbc.
 
 ANALYTICAL INTRODUCTION, xxv 
 
 Love. 
 
 Compassion. 
 Self-Sacrifice. 
 
 
 ^tegmunb, cinb 
 
 ANIMALS. 
 
 The Horse (Grane). 
 
 The Birds. 
 
 (fl) The Singing Bird. 
 
 {J}) The Ravens. 
 
 The Dragon. 
 
 The Toad. 
 
 The Bear. 
 
 THE ELEMENTS AND THEIR BU^ERSONATIONS. 
 
 Light. Steta. 
 
 Darkness. ?t3^ (TttSefungen. 
 
 Earth. <^rba. 
 
 Air (Storm) /fj^^iT-^.. 
 
 Fire. BiOge. 
 
 Water. ^^e (K3t«^'^«"33^e;rfi. 
 
 (a) Gold, ^^e (King anb f^e (UtBefungen 
 treasure. 
 
 S i (/O Steel, ^^e ^worb. 
 
 SYMBOLS. 
 
 Ring, the Symbol of rtjotver. 
 
 Tarnhelm, the Symbol of ©ecetf. 
 
 Sword, the Symbol of ^freugfB. 
 
 Spear, the Symbol of 'TTofoU^e (^uf^orifg. 
 
 Draught of Oblivion, the Symbol of JnefaBififg. 
 
 Rope of the Norns, the Symbol of ^IJe tC^xttlHi) of
 
 xxvi ANALYTICAL INTRODUCTION. 
 
 MAGIC. 
 The Ring 
 
 Endows its owner with supernatural strength, and 
 ensures the obedience of others to his commands. 
 
 The Tarnhelm 
 Enables its owner to become invisible, or to assume any 
 form he pleases. 
 
 The Sword 
 
 In Siegmund's hands owes its magic power to Wotan, 
 and is deprived of that power by the god. 
 
 The Golden Apples 
 
 Grow in Freia's garden, and are the means of preserving 
 eternal youth to all who partake of them. 
 
 The Draught of Oblivion 
 
 Effaces all remembrance of past events. 
 
 The Draught of Memory 
 
 Effaces all effects of the Draught of Oblivion. 
 
 The Dragon's Blood 
 
 Enables Siegfried to understand the language of the 
 birds.
 
 ANALYTICAL INTRODUCTION, xxvii 
 
 TIIF, 
 ETHICAL EXEGESIS 
 
 OF THE 
 NIBELUNGEN RING. 
 
 A. 
 The General Lessons 
 
 AND 
 
 Their Allotment to Individual Characters. 
 The contemptibility of canning ; exemplified by @f6etric^> 
 
 5* %(i^z^\\i anb (Ultme. 
 
 £ The likelihood that cunning will overreach and betray 
 » itself; exemplified by ^fBertC^t %0.%t\\t anb 
 
 o ... 
 
 ^JI The incompatibility of the lust of gain with true pleasure ; 
 
 % exemplified by ^fBeVtC^. 
 
 ^ The contemptibility of cowardice ; exemplified by ^time. 
 
 2 
 o 
 
 « Courage not always inconsistent with the pursuance of 
 g evil; exemplified by (^{"'BertC^.
 
 xxviii ANALYTICAL INTRODUCTLON. 
 
 ^ The incompatibility of the desire for fame with love ; 
 cS exeniplilicd by ^tesfrttb. 
 
 The temptation to become tyrannical, which the possession 
 of power offers ; exemplified by ^fBertC^. 
 
 Fear engendered by the lust of power ; exemplified by 
 
 S The lust of power is its own perdition ; exemplified by 
 
 The incompatibility of the lust of power with love ; 
 
 exemplified by (^f6enc3» Safner> (sn^ f^ofan. 
 
 The incompatibility of the lust of power with true 
 pleasure; exemplified by (^fBertC^ dUb OSJofan. 
 
 o 
 
 ~- The inevitable punishment of filial disobedience ; exempli- 
 
 cS fied by Q^ruun^tfbe. 
 
 <a 
 @ 
 
 The egoism and blindness of human love, when untried liy 
 suffering ; exemplified by Q^runn^tf b^- 
 
 «i Love sometimes engendered by suffering in common ; cx- 
 
 ^2 emplified by Siesmuub atib ^tegftnbe. 
 
 •A The purification of love through suffering; exemi)lificd by 
 
 ^ Qlrunnaifbe. 
 
 Kjiowledge and wisdom only acquired through sorrow and 
 Suft'ering ; exemplified tiy Q^rUnU^tf^e.
 
 ANALYTICAL INTRODUCTION, xxix 
 
 o 
 
 *^ Even gods are bound by their own laws ; exemplified by 
 
 3 The conflict of duty and tenderness in the parental heait 
 2 of a god ; exemplified by HOJofcin. 
 
 <>> 
 c£^ 
 
 ]-> 
 
 :s 
 «a 
 
 IS 
 
 $»- The possibility of an innocent enjoyment of gold ; ex- 
 
 emplified by the ^^\\\ti'ii9,\X%^itX&. 
 
 o 
 
 t-) 
 
 so 
 
 ^ A i)ure and noble nature's incapacity of suspecting deceit 
 
 ^ and untruth in others ; exemphfied by Q^rUtlU^lfbe. 
 o 
 
 ^5 Compassion for the sorrows of others is the essence of 
 g true humanity; exemplified by Q^runn3ifi>^. 
 
 3 
 
 «i> True happiness only attained by the complete and volun- 
 
 ^S. '■'^'^y sacrifice of self, for the good of others ; exempli- 
 
 §• fied by Q^hinii^ifbe. 
 
 Id
 
 XXX ANALYTICAL INTRODUCTION. 
 
 B. 
 
 The Individual Characters 
 
 IN 
 
 Their Illustrative Development. 
 
 The Impersonation of the ^umcin '^tff. 
 
 The type of the highest humanity, where, on its voHtional 
 
 side, it merges into the divine. 
 Though the chief of the gods, he lias the usual mythical 
 limitations, his perfection (if the word may be used) being 
 
 variable, and his power not absolute. 
 In early youth, his first pleasures are those of love : 
 But ambition soon replaces love in his breast. 
 He seeks, therefore, by all possible means, to increase his 
 
 power ; 
 And, by treaties or by force, subjects all other powers to 
 
 his will. 
 He employs underhand means (Loge) to further his ends : 
 And thus draws upon himself the inevitable curse of evil. 
 The fear of losing ill-gotten power oppresses him ; 
 And the hatred of hostile forces threatens him and his 
 
 race with destruction. 
 He listens, however, to Nature's warnings ; 
 And thus escapes all immediate danger. 
 He gains wisdom and foresight by communing with Nature ; 
 And from her he receives a power, with which to figiit 
 
 evil forces : 
 But she cannot stop, or change for him, the course oi 
 
 destiny.
 
 ANALYTICAL INTRODUCTION, xxxi 
 
 In his fear of annihilation, he resorts to other means. 
 
 I le sets estabhslied custom at defiance ; 
 
 And endeavours to escape from the laws, with which he 
 hoped to bind others : 
 
 But circumstances prove to be stronger than his will ; 
 
 And in sorrow and anger, he has to submit to the in- 
 evitable. 
 
 Heart-broken and weary, he renounces his schemes of 
 
 ambition, 
 
 As he realises the futility of fighting against fate. 
 
 Resignation gradually takes the place of anger and despair 
 in his bosom. 
 
 He becomes merely a passive spectator of events. 
 
 Only once more does he oppose his will to that of 
 
 destiny : 
 
 But the last vestige of his power is destroyed. 
 
 His only desire then is for the end ; 
 
 And calmly and submissively he waits the approach of his 
 doom, and the final extinction of his glory. 
 
 The impersonation of JnfttSUe. 
 
 His nature is roving and restless. 
 
 He delights in the discomfiture of others ; 
 
 And is possessed of a ready and sarcastic wit. 
 
 His cunning makes him indispensable to the higher 
 
 powers ; 
 And his advice and aid are invaluable to Wotan. 
 His cleverness often gets himself and others out of a 
 
 difficulty : 
 But, in assisting them, he himself contrives to escape 
 
 from all responsibility. 
 He sees through the folly of others : 
 
 But he aids and abets them therein, as far as the doing 
 so serves his own ends.
 
 xxxii ANALYTICAL INTRODUCTION 
 ©onner. 
 
 The god of ^^Uttber. 
 
 His character is bUistering and violent. 
 
 Master of the atmosphere, he clears away the storm 
 
 clouds ; 
 And provides a beautiful entrance to the gods' dwelling. 
 
 Sro5. 
 
 The God of ^Og. 
 
 He endeavours to retain the presence of Freia, the 
 
 Goddess of Love ; 
 And, of all the gods, he is the most joyful at her return. 
 
 The representative of (Uloraf :&an3 atlb (Drber. 
 She protects those who suffer by a breach of this law. 
 ller intelligence grasps only long-established facts and 
 
 rules, 
 And she fails to understand the aims of a god (Wotan), 
 
 who is planning the creation of a new race. 
 She has no pity for those who sui'fer through their own 
 
 or another's faults. 
 Stern and inexorable, she demands that justice shall be 
 
 done. 
 By virtue of existing laws she triumphs over Wotan's 
 
 humanity ; 
 And makes good her right in the eyes of gods and 
 
 men. 
 
 Sreta. 
 
 The Goddess of feoioe ftUb %<i\xi?}. 
 
 She possesses the power of imparting immortality. 
 
 She is sacrificed to others' ambition, and their desire 
 
 for power : 
 But her presence is indispensable to the gods. 
 The price of her redemption is untold wealth, and the 
 symbol of omnipotence.
 
 ANALYTICAL INTRODUCTION, xxxiii 
 
 The Impersonation of the ^avi^. 
 
 All the secrets of Nature and Destiny are kfiown to her : 
 
 But she has no power to change either the one or the 
 
 other. 
 Ilcr voice is only heard as a warning against evil. 
 She is vanquished by the Will of Wotan, to whom she 
 
 reveals herself; 
 And to him she imparts knowledge and wisdom. 
 She furnishes him with the means, by which to combat 
 
 hostile forces : 
 Ikit her wisdom and foresight vanish before the power 
 
 of Wotan's Will ; 
 And at his bidding she sinks again into eternal sleep. 
 
 ^3e nrafcung ^wine. 
 
 Two Ik'ings predestined for each other by ^aic. 
 Their common origin signifies a close affinity of soul ; 
 And each forms the complement of the other. 
 They belong to a higher sphere than their surroundings ; 
 And, by virtue of their divine origin, have a different 
 
 nature from their fellow-mortals. 
 This difference causes them to be misunderstood and 
 
 persecuted ; 
 And, separated, each leads a life of spiritual and moral 
 
 isolation. 
 Brought together by circumstances, a mutual sjonpathy 
 
 is inevitable ; 
 And in ujututll love they seek a refuge - from affliction 
 
 and sorrow : 
 But, in so doing, they break the laws of human 
 
 morality ; 
 And thus draw upon themselves a universal con- 
 demnation. 
 
 3
 
 xxxiv ANALYTICAL INTRODUCTION. 
 
 The sympathy of one compassionate heart (Brlinnhilde's) 
 
 cannot protect them ; 
 And the punishment of their offence is separation and 
 
 death. 
 
 ^tegfrteb. 
 
 The Type of a ^^tee %ttO. 
 
 The offspring of a syniboUc union, and born in tlie 
 
 forest. 
 He is a true child of Nature. 
 
 He grows up in the depths of the primeval forest. 
 Far from the world, and in ignorance of its ways. 
 His companions and playmates are the birds and beasts 
 
 of the wood ; 
 His only human society, a miserable little dwarf (Mime), 
 Whom his noble nature instinctively distrusts and 
 
 dislikes. 
 Alone, and on his own merits, he makes his way in 
 
 the world. 
 Clearing all obstacles by his undaunted fearlessness. 
 He becomes master of untold wealth ; 
 And wins the love of the noblest woman in the world 
 
 (Briinnhilde). 
 But he is ignorant of the value of these things ; 
 And sacrifices a pure love to his liking for change, and 
 
 desire for fame. 
 He becomes the accomplice of a plot against himself. 
 He learns from bad companions the use of deceit. 
 He refuses to listen to the warnings of Nature ; 
 And his blindness to danger causes his ruin : 
 But his last moments reveal again the higher side of 
 
 his character. 
 
 (Bwnf^er. 
 
 The Personification of (Wloraf HOJecifineSB. 
 
 The last representative of an ancient race of heroes.
 
 ANALYTICAL INTRODUCTION, xxxv 
 
 His character is proud and self-contained ; 
 
 And his chief desire, to increase his possessions : 
 
 But, being weak and irresohite, he is easily led by evil 
 
 influence ; 
 And succumbs to the temptation of wrong-doing, in 
 
 order to satisfy his own desires. 
 He also leads astray the man who becomes his friend 
 
 (Siegfried) ; 
 And obtains, through him, the longed-for prize (Briinn- 
 
 hilde). 
 He is covered with shame and confusion, by the result 
 
 of his own action : 
 But is too weak-minded to realise the extent of his folly. 
 He allows the consequences of their common wrong- 
 doing to fall on his friend alone ; 
 And joins in a plot to ruin the man (Siegfried), to 
 
 whom he swore fidelity. 
 Too late, he makes a feeble effort to avert tlie fatal 
 
 blow ; 
 And even endeavours to thwart the power of evil : 
 But this power again proves too strong for him ; 
 And he falls by the same hand (Hagen's), as that which 
 slays his friend, and of which he himself had been 
 the tool. 
 
 The type of a rough, hard, though brave, J^^tO. 
 
 His character is harsh and gloomy. 
 
 His only law that of might. 
 
 His rule is loveless and tyrannical ; 
 
 His hatred of an enemy, implacable. 
 
 He respects, however, the rules of hospitality : 
 
 But knows no mercy, and avenges a wrong done to him 
 
 with death. 
 He is protected by the laws of justice ; 
 And is thereby enabled to triumph over, and revenge 
 himself on, his rival (Siegmund).
 
 xxxvi ANALYTICAL INTRODUCTION. 
 A type of Semtntne Sratffg. 
 
 She is weak, amiable, and easily led. 
 
 More ambitious tlian her brother (Gunther), 
 
 She desires Siegfried for his famous reputation. 
 
 She falls a victim to the wiles of evil ; 
 
 And consents to become the instrument of a dark plot, 
 
 Of which, however, she is unable to fathom the depth. 
 
 She voluntarily sacrifices another woman's happiness to 
 
 her own desires ; 
 And is even jealous of the rival (Briinnhilde), over whom 
 
 she has thus triumphed. 
 In the short period of happiness she enjoys, she seems 
 
 to forget her guilt : 
 But she fears and dislikes the woman, whom she has be- 
 trayed : (for ^'' hiintani generis est odissc quern laeseris"). 
 Only when the consequences of evil-doing are irrevoc- 
 able, does she realise the effects of her own action. 
 In vain slie curses the author (Hagen) of so much 
 
 misery ; 
 And bitterly regrets her own deeds. 
 Her weak individuality finally vanishes before the 
 grandeur of her rival's character. 
 
 tV>t nrafgiiren. 
 
 The Embodiment ul J^erOtC ^frttigf^- 
 
 Their nature is wild, free, and joyous as the elements, 
 
 through which they ride. 
 Tlieir mission is, to war against the power of evil ; 
 To protect noble and brave heroes; 
 
 i\.nd to bring them, after death, to the halls of Walhall. 
 But the warlike element of their nature excludes all 
 
 hunianer feelings ; 
 
 And, except Briinnhilde, they all perish under the curse, 
 
 from which love alone can save.
 
 ANALYTICAL INTRODUCTION, xxxvii 
 
 N.B.-~Wal^Y\&\^ of Battle. 
 Kuren = {.o chose. 
 
 The Walkiircn are those, who bring to Walhall the 
 heroes chosen by Wotan, after they have been slain 
 on the battlefield. 
 
 The Impersonation of %Oi)t. 
 
 The type of the highest humanity, where, on its emotional 
 
 side, it merges into the divine. 
 See owes her being to a close union of the Human Will 
 
 with Nature. 
 From her father (Wotan), she inherits courage and 
 
 strength ; 
 From her mother (Erda), wisdom and foresight. 
 She becomes, as it were, the active expression of her 
 
 father's Will : 
 But a schism in that Will itself causes the first conflict 
 
 in her being. 
 The humane side of her nature gains the day ; 
 And compassion for the sorrow of others ends the con- 
 flict in her breast. 
 Becoming affected thus, she also unconsciously becomes 
 
 free, 
 And so escapes the danger of annihilation which threatens 
 
 the gods. 
 But she cannot avoid the inevitable consequences of the 
 
 change in her nature. 
 She has escaped from the laws of the gods : 
 But she must submit to the rule of mortal love. 
 Her maiden purity at first shrinks from the contact of 
 
 human passion ; 
 
 Till love finally conquers all other conflicting elements 
 
 of her nature.
 
 xxxviii ANALYTICAL INTIWDUCTION'. 
 
 But her perfect confidence and affection are ruthlessly 
 
 betrayed. 
 Her noble simplicity and innocence maT<e her a victim 
 
 to evil forces. 
 Her ignorance of evil renders her incapable of divining 
 
 the real cause of her misfortunes : 
 And she herself unwittingly becomes the tool of diabolical 
 
 machinations. 
 Only after long anguish and despair does she become 
 
 enlightened as to their cause. 
 With this knowledge the divine side of her nature again 
 
 shines forth with added glory. 
 
 The love in her heart triumphs over care and sorrow ; 
 
 And becomes a divine compassion for suffering humanity ; 
 
 And, by the voluntary sacrifice of self, she redeems the 
 
 world from the curse of sin. 
 
 '^affraufe. 
 One of the TTafSuren. 
 
 She ranks next to Briinnhilde in courage : 
 
 But does not understand the human side of her sister's 
 
 character. 
 She endeavours, nevertheless, at the risk of punishment. 
 
 to save the gods from destruction. 
 But her reasoning and entreaties are in vain, against 
 
 the power of love. 
 Iler errand fails, and she returns, to perish in the con- 
 flagration of Walhall. 
 
 Sflfnejr. 
 A Type of gp^gotcaf ^ixt\\%i9) anb (jnoraf 
 
 He is slow-witted and heavy, but desirous of possessing 
 
 wealth ; 
 And he manages to outwit the powers who have sub- 
 jected him to their will. 
 He prefers gold to tlie pleasures of love :
 
 ANALYTICAL INTRODUCTION, xxxix 
 
 But he makes no use of the gold he acquires ; 
 
 And is too stupid to avail himself of the power (of the 
 
 Ring and Tarnhelm) withJn his reach. 
 The only use he makes of the power of the Tarnhelm 
 Is, to assume an animal form ; 
 And thus to sleep, and to guard in his den the treasure 
 
 he possesses. 
 He is deaf to all warnings, and confident in his own 
 
 strength ; 
 And the possession of the Ring is the cause of his 
 
 death. 
 
 fasoff. 
 
 The gentler-natured of the two giants. 
 He is less avaricious than his brother (Fafner) ; 
 And more susceptible to the charms of Freia ; 
 And unwilling to sacrifice her, for gold and power. 
 His feebler nature has to yield to that of his brother ; 
 And he is the first victim of the curse attached to the 
 
 Ring. 
 
 The Personification of (gioif. 
 
 He is resolute, defiant, and undaunted in his pursuit 
 
 of it. 
 His character combines the love of sensual pleasure 
 
 with an insatiable lust of gain, and desire for power : 
 But he is willing to sacrifice even pleasure to ambition ; 
 And brings into a world of love and innocence, the 
 
 curse of sin and sorrow. 
 The acquisition of power magnifies his petty cruelty 
 
 into larger tyranny ; 
 And his fellow-beings become his slaves. 
 His chief aim is, to destroy all that is good, pure, and 
 
 noble. 
 He accumulates wealth for that purpose.
 
 xl ANALYTICAL INTRODUCTION. 
 
 He detects, and uses, bad qualities in others for his own 
 
 ends. 
 He is defeated, however, by a cunning greater than his 
 
 own : 
 But he resolves to revenge himself at all costs ; 
 And he lets no opportunity escape of increasing the 
 
 power of evil. 
 Eventually he effects the ruin of all living beings, 
 Till the power of a divine love releases the world from 
 his influence. 
 
 (Witme. 
 
 The Personification of CutUUng. 
 He is avaricious and treacherous : 
 But cowardly in the extreme. 
 His weakness makes him a victim to tyranny : 
 But events free him from his brother's (Alberich's) rule. 
 For his own selfish purpose, he does an act of benevo- 
 lence ; 
 And, in the hope of future reward, brings up a child 
 
 (Siegfried) whom he hates. 
 He is careful to keep tlie cliild ignorant of its origin. 
 Till forced to reveal the liulli. 
 
 Being loo weak to obtain what he desires by force, 
 He resorts to underhand means, and deception. 
 He defeats his own ends, however ; 
 
 And meets witli tlie fate, which he had intended for 
 
 another. 
 
 The Personification of ^txit. 
 
 The offspring of a union, caused by the love of gold, 
 
 on the one hand, and by the desire for vengeance, 
 
 on the other. 
 
 He is brought up by his father (Alberich) for revenge ; 
 
 And has inherited, from him, an intense hatred of all 
 
 that is good.
 
 ANALYTICAL INTRODUCTION, xli 
 
 His nature is yloom)', morose, and cold ; 
 
 And all his energy is concentrated on regaining the 
 
 symbol of power (The Ring). 
 He insinuates himself into the confidence of others ; 
 And makes their passions and desires serve his own 
 
 aim. 
 He sacrifices mercilessly the happiness of all, whom he 
 
 uses as his tools ; 
 And does not spare even life, when it hinders the 
 
 achievement of his plans. 
 He is unable to frustrate the power of love, however ; 
 And meets with an untimely end, in the waters of the 
 
 Rhine. 
 
 The Personification of the TJJftferS of i^t Q^^ine. 
 
 They are the original guardians of the Gold. 
 
 Being a part of Nature herself, their character is joyous 
 
 and guileless ; 
 And they rejoice in the beauty of the Gold, heedless of 
 
 its power. 
 They innocently reveal the secret of the Gold ; 
 And then are unable to protect it from the power of 
 
 evil (Alberich). 
 Their eff(5rls to regain the Gold, are all of no avail. 
 Till a power greater than that of Nature (Brlinnhilde) 
 
 restores it to them ; 
 And its briUiancy again brightens the waters, and re- 
 joices their hearts. 
 They punish with death him (Ilagcn), who would rob 
 them of it a second time. 
 
 » « » 
 
 ^^e (Bofb. 
 
 a. The Rhine Gold. 
 
 In its natural state, it is guarded by the waters of the 
 
 Rhine ;
 
 xlii ANALYTICAL INl^RODUCTION. 
 
 And is powerless and harmless : 
 
 But, transferred from its natural element, its form and 
 
 properties are changed ; 
 And in the hands of evil, it becomes, when made into a 
 
 Ring by Alberich {v. Ring, below), a powerful force. 
 Its presence chases away that of love : 
 But confers omnipotence on its possessor ; 
 And enables him to obtain all that he desires. 
 
 b. The Treasure of the Nibelungen. 
 The Gold hidden in the depths of the earth. 
 It becomes the property of the master of the Rhine- 
 gold. 
 It is stored by Alberich, to serve him in his evil plans. 
 It is transferred from his possessit)n into Wotan's ; 
 And forms a part of Frcia's ransom. 
 It is hoarded and watched by Fafner, in his den. 
 For Siegfried it has no value, and is left lying idle, 
 and useless. 
 
 tU (gtng. 
 The Symbol of 6mnt|)ofence. 
 
 Made by Alberich from the Gold in the Rhine {p. 
 
 p. xli). 
 It endows its possessor with supernatural strength ; 
 And with supreme power over his fellows. 
 It brings into his hands all riches of the earth ; 
 And subjects all other forces to his will. 
 It owes its existence to the renunciation of love ; 
 And its formation is the work of an evil hand. 
 Its maker (Alberich) uses it to tyrannise over others; 
 And hopes, by means of it, to destroy all existing 
 
 purity, nobility, and goodness. 
 Acquired by him through a curse, it leaves his hands 
 
 weighted with a double malediction. 
 Thenceforward it is the cause of all evil and misery in 
 
 the world.
 
 ANALYTICAL INTRODUCTION, xliii 
 
 It clouds willi sorrow, fear, and discord the sunny 
 
 heights. 
 The shadow of its curse lies over the gods and 
 
 Walhall ; 
 And finally causes their total extinction. 
 It forms the object of plots, intrigues, and combats on 
 
 the earth. 
 Jealousy, anxiety, and a desire to possess it reign in all 
 
 hearts, that know of its existence ; 
 And each one, in turn, fells a victim to its curse. 
 In the hands of youthful purity and innocence (Siegfried 
 
 and Briinnhilde) it becomes a love-token : 
 But even then the curse still clings to it ; 
 And around its master (Siegfried) dark plots thicken. 
 It is the cause of bitter shame and sorrow, to even the 
 
 noblest of its possessors (Briinnhilde) ; 
 And effects the ruin and death of him (Siegfried) for 
 
 whom, as a symbol of power, it has no value. 
 It is only purified from the curse by the power of a 
 
 pure love ; 
 
 And its baneful influence ceases, when it is again 
 
 restored to its native element. 
 
 ^3e ^arn3efm. 
 
 The Symbol of ©eceif . 
 
 It enables its owner to become invisible ; 
 
 Or to assume any form he pleases. 
 
 It is the product of a sly and treacherous nature. 
 
 Its maker (Mime) is unable to estimate its full value ; 
 
 In Alberich's hands, however, it becomes a powerful 
 
 factor for evil. 
 Through it, he is entrapped by the cunning Loge. 
 Fafner's only use of it is, to assume the form of an 
 
 animal. 
 To the youthful Siegfried its power is unknown. 
 He learns the use of it from an evil source (Hagen) ; 
 And, by means of it, he deceives and betrays Brunnliilde.
 
 xliv ANALYTICAL INTRODUCTION. 
 
 A Symbol of ^freiigf^- 
 
 It is destined by divine will, in the first instance, for 
 
 the hero of misfortune (Siegmund). 
 He comes into possession of it by the aid of love 
 
 (Sieglinde) : 
 But its power is annulled by that of justice (Wotan) ; 
 And it is shattered by the symbol of the law. 
 It is not, however, wholly destroyed ; 
 And its fragments are inherited by the son (Siegfried) of 
 
 its original possessor. 
 Cowardice and cunning can do nothing with these frag- 
 ments : 
 But heroic courage transforms them again into a power- 
 ful weapon. 
 This weapon lays low sloth and cowardice ; 
 And its master becomes possessed of wealth and the 
 
 .symbol of omnipotence. 
 The sceptre of the law finally breaks on its sharp edge. 
 It cuts through the iron shell of the Walkiire's warlike 
 
 nature, 
 Thus disclosing to Siegfried the womanly grace beneath. 
 To the free hero, it is of more value than wealth or 
 
 power ; 
 And he offers its services to his friend (Gunlhcr). 
 After his fall, Siegfried no longer makes any use of it. 
 
 JV.B.—ln the Drama the sword is called "Nothung." It 
 receives this name, which signifies the sword of 
 "distress," from Siegmund, because he finds it 
 in the hour of his greatest need. 
 
 C3e ^^eor. 
 
 The Symbol of Wotan's (^uf^ortfg.
 
 ANALYTICAL INTRODUCTION, xlv 
 
 By means of it, the god subjects the inferior races to 
 
 his will. 
 It is interposed, to prevent strife between the gods and 
 
 the giants. 
 It protects and enforces the laws of the gods ; 
 And inflicts punishment on those who infringe those laws. 
 It evokes the flames which protect Briinnhilde's sleep ; 
 And bars the entrance to that enchanted circle, for all 
 
 who fear its power. 
 Its authority is shattered by the strength of youth and 
 
 love ; 
 
 And the broken fragments are all that remain to Wotan 
 
 of his power. 
 
 * * * 
 
 The Home of the Gods. 
 
 A symbol of power, whose price is the loss of love and 
 
 youth. 
 Eventually, however, it is paid for with the Rhine Gold ; 
 And thus comes under the curse of evil : 
 But the influence of this curse is not immediately felt. 
 Walhall becomes the stronghold of the gods ; 
 And the resting-place of chosen heroes, after their death. 
 But, with the banishment from its halls of its noblest 
 
 inhabitant (Briinnhilde), 
 Sorrow and care fall upon those who remain ; 
 And the shadow of the curse darkens its halls. 
 Slowly the "old order changeth, yielding place to new," 
 And Walhall, with its Gods, its Heroes and its Wal- 
 
 kiiren, disappears. 
 Its glory is consumed by the fire of Love. 
 
 * * « 
 
 N.B. — "Walhall" signifies the hall of the heroes slain in 
 battle. 
 fra/= Battlefield.
 
 NOTE TO THE READER. 
 
 For the purpose of facilitating the reader's and 
 spectator's task, indents have been made here 
 and there at the side of the text, to indicate the 
 
 FIRST ENTRANCE, or the REArPEARANCEy OF 
 
 PERSONS on the scene; also 'where the first 
 
 MENTION IS MADE OF ANY IMPORTANT SYMBOE, 
 
 — such as the Ring, — or in the case of such a 
 
 SYMBOL BEING CALLED INTO ACTIVE USE in the 
 
 drama. 
 
 The NAMES OF PERSONS AND THINGS, Con- 
 tained in these indents, are, for the most part, 
 fiirther emphasised in the text by the use of 
 (Dfb (Bngfi60 tg}>e. The same type is sotnc- 
 times employed to draw attention to the appear- 
 ance OR MENTION OF A PERSON OR THING, 
 
 where no indent occurs. 
 
 The HEADINGS which appear in the text 
 have been introdticed in order to indicate briefly 
 the CHIEF SCENES AND INCIDENTS of the drama, 
 with the object of rendering the general scheme
 
 NOTE TO THE READER. 2 
 
 as clear and comprehensible as possible, and of 
 preparing the spectator for what he is to see 
 yiext. 
 
 The names of motives, where they first 
 OCCUR, appear in <J)fb <Engft0^ itP^ in the 
 text: THEIR RECURRENCE is sJiown by their 
 names appearing in small capitals ; and each 
 motive is separately named and numbered, both 
 in the text and on the pages (159-176) of music, 
 ivhich follow the narrative. The numbers of 
 the motives in the text of course correspond with 
 those of the music at the end ; and the names of 
 the motives are, for the most part, those that 
 have been generally assigned to them, though in 
 some cases I have adopted for them other names, 
 which seem to me to be more appropriate. 
 
 I am not altogether without hope, that the 
 arra7ige?nent of the types, the general plan and 
 the size of this volume may render it a handy, 
 portable guide, not only to the reader at home, 
 but also to the spectator of a performance in the 
 theatre.
 
 tU (Ut<xtn 3bea0 
 
 of t^e 
 
 (R^ein^ofb. 
 
 Base love of Gold destroys golden Love, 
 and leads 
 
 Along a path of Cunning to a hunt after 
 overrated Power.
 
 ^be IRbcincjolb. 
 
 * 
 
 The Overture. 
 
 In this wonderful beginning of, perhaps, the most 
 powerful of Richard Wagner's creations, this grand 
 Tetralogy, which contains the tragedy of human 
 existence, we are first of all introduced to the 
 (Sf^tnenfs, in their primeval purity. 
 
 Out of the darkness and silence, which reign 
 over all, as before the creation of a world, comes, 
 from the double-basses, the beginning of the 
 Overture, with a deep, prolonged note, that repre- 
 sents the unbroken peace of Nature in a primeval 
 state, ere evil or tragic elements of any sort have 
 found their way in to mar that peace. 
 
 Gradually the sounds rise and swell, and flow 
 into a rhythmic movement, like the full tide of some 
 great water. Out of this movement rises, on the 
 4
 
 5 THE RHEINGOLD. 
 
 flutes and bassoons, the first definite melody 
 in the drama, a soft, flowing, evolutionary 
 melody, which rises and falls like the waves, 
 and which may be considered as the Motive 
 
 of the ^vimetjaf (Bfemenf (i). 
 
 SCENE 1. 
 
 THE RHINE-DAUGHTERS AT PLAY. 
 
 Now the curtain is lifted, and the scene before 
 us represents the fioffom of f^e (H^ltte, in 
 dusky twilight. The water, however, only comes 
 to within about five feet from the ground, and 
 is then replaced beneath by a sort of mist, through 
 which the rugged forms of rocks are visible. 
 These rocks, as well as the river's bottom, are 
 full of dark clefts and openings. A rocft in 
 the centre towers high above the rest, so that its 
 summit almost reaches the surface of the water. 
 Around this summit swims one of the (R^inc; 
 ^au5^tct0. Her clear song rises above the
 
 SCENE I. 6 
 
 music of the orchestra, like the first ray of light 
 piercing the darkness. 
 
 These Daughters of the Rhine are themselves 
 part of the clear, changing element ; and their 
 song, as representing the voice of Nature, re- 
 sembles the fluctuating sounds of the waves, 
 rather than definite words ; and forms the Motive 
 of the (R3t»^^'^^W5^^er6 (2). 
 
 Their innocent, lively play, as they 
 Alberich. 
 
 chase each other round the summit 
 
 of the rock, is accompanied by a quick light 
 
 movement in the orchestra. Soon, however, 
 
 darker tones introduce into these pure harmonies 
 
 the tragic element ; and the beginning of (St)if 
 
 appears, in the person of the dwarf (^f6enc3» 
 
 who comes up from his dark home under the 
 
 waters, and, with sensual desires, watches the play 
 
 of the three maidens. He calls to them, and 
 
 then tries to join in their game, in order to catch 
 
 one of them. With laughter and scorn they 
 
 entice him, first by approaching him, and then 
 
 as quickly escaping again. His lamentations at 
 
 their treatment of him are accompanied by a 
 
 series of chords, which might here be called the 
 
 Motive of Jm^JOfence (3)- 
 
 Alberich at length becomes furious ; and, after
 
 7 THE RHEINGOLD. 
 
 frantic, but futile, endeavours to climb up the 
 rocks, he shakes his fist at the maidens. This 
 action is accompanied by seven threatening chords, 
 which form an expressive Motive of (^encice 
 
 (4). 
 
 THE EYE OF THE GOLD UNSEALED. 
 
 Suddenly, in the midst of his impotent rage, 
 Alberich's attention is diverted from the Rhine- 
 daughters to a magical, golden light, which sinks 
 down through the water, while shining rays come 
 from the top of the high rock in the centre of 
 the stream. The trembUng movement on the 
 violins is like the shimmer of gold in quivering 
 sunshine. And now, on the horns, resounds the 
 Motive of the (^of^ (s) ; a ringing, triumphant 
 fanfare, significant at once of its metallic nature, 
 and of its power in the world. This motive is of 
 very frequent occurrence throughout the drama. 
 
 The Rhine-daughters hail with delight the 
 awakening of the Gold by the sun's first rays. 
 Their cry of " Rhinegold, laughing delight," forms 
 a second important Motive for the (^ofl> (6), 
 a sweeter motive than the first, and one which 
 betokens its beauty, as a pure element, free from
 
 SCENE I. 8 
 
 all evil, and a source of only innocent pleasure to 
 
 the Rhine-daughters, who guard it. These latter 
 
 now swim joyously around the rocks, and invite 
 
 Alberich, who stands speechlessly watching this 
 
 spectacle, to come and revel with them in the 
 
 golden glory. 
 
 By their heedless chatter, the maidens 
 The Ring. , , ., , 
 
 then reveal to the Nibelung the secret 
 
 power of the Gold ; namely, that he, who should 
 shape the metal into a Ring, would win the world 
 for himself. Here, on the oboes, the Motive of 
 the (King (7) descends and remounts the scale in 
 thirds. This motive is one of great significance in 
 the drama. Equally significant is the Motive of 
 n^^VlUUCitltioit (8), which accompanies, with 
 tragic portent, the words of one of the Rhine- 
 daughters, when she tells Alberich, that only he, 
 who should curse the power, and renounce the 
 pleasure, of Love, could gain the magic force, by 
 which to transform the Gold into a Ring. 
 
 ALBERICH STEALS THE GOLD. 
 
 The Nibelung, to whom Love means only the 
 satisfaction of sensual desires, willingly renounces
 
 9 THE RHEINGOLD. 
 
 it, for the sake of a power, which would make him 
 master of the whole world. By a frantic effort, he 
 succeeds in clambering up the centre rock, and 
 with a cry of "Thus do I curse Love," he seizes 
 the (SkOfb, which lies on the sunmiit of the rock. 
 He then rapidly descends with it, into one of the 
 clefts at the bottom of the river. Darkness falls 
 over the whole scene, and the joyous song of the 
 Rhine maidens is changed into lamentations and 
 cries for help, as they vainly pursue the thief. 
 The Motive of the Gold (5) dies away in a 
 sorrowful minor key, ending in the Motive of 
 Renunciation (8). 
 
 Now a transformation takes place in the scenery. 
 The waves gradually sink, and give place to 
 clouds ; these also disperse, and the tops of the 
 mountains emerge from the vapours. 
 
 Here the second Scene begins.
 
 SCENE 11. lo 
 
 SCENE II. 
 
 IVALHALL, THE HOME OF THE GODS. 
 
 At first darkness reigns : but the growing light of 
 daybreak reveals to us a majestic building on the 
 mountains. 
 
 The Ring Motive (7), which recurs frequently 
 during the change of scene, is now followed, on 
 the brass instruments, by one somewhat similar 
 to it, and also significant of power and dominion. 
 This is the Motive of nQ?af^aff (9), the castle 
 in which the gods are to dwell henceforth, and 
 in which Wotan, their head, proposes to increase 
 his strength and authority, as governor of the 
 world. The Motive of Walhall forms also a 
 motive for, and represents, the character of 
 Wotan himself. 
 
 Wotan. I" the open space in the foreground 
 
 Fricka. 03?of(in, the first of the gods, and his 
 wife, §rtcila, are lying asleep. Between them 
 and n)?af^aff, flows the (g9,ix\^.
 
 II THE RHEINGOLD. 
 
 Fricka, on opening her eyes, perceives the 
 castle, and calls to W'otan to awake from bliss- 
 ful dreams of power and glory. 
 
 To the majestic chords of the Walhall 
 Motive (9), the god rises, and greets the castle, 
 as the fulfilment of his dreams, and the perfect 
 realisation of that which he has willed. 
 
 But Wotan, possessed by the same insatiable 
 desire as Alberich for endless power and 
 dominion, has also been willing to sacrifice Love, 
 in order to become omnipotent. And now 
 Fricka reminds him, that to the Giants who 
 built the castle he has promised, as a reward of 
 their labour, Freia, the fair goddess of Love. 
 
 The Motive of T2?otan'6 ^X>^<\X (10), the 
 symbol of the power, by which he rules the 
 world, is introduced in this scene on the violon- 
 cellos and double-basses. This motive, as it 
 descends the scale, seems to denote the action 
 of bringing the spear's point down on to the 
 ground, with an authoritative gesture. 
 
 Wotan has been advised to make this treaty 
 with the Giants, by Loge, the cunning god of 
 Fire. Now, however, to Fricka's reproaches, that 
 he is indifferent to the delights of Love, and to 
 the worth of woman, Wotan replies, that he
 
 SCENE II. 12 
 
 never earnestly contemplated the sacrifice in 
 
 question, and that he relies on Loge's cunning 
 
 to free him, and Freia also, from the treaty 
 
 made with the Giants. 
 
 A hurried, descending movement on 
 Freia. 
 
 the violins constitutes the Motive of 
 
 §ftg^t (ii), and announces ;§reta'6 approach. 
 
 She comes running in terror towards Wotan and 
 
 Fricka, and appeals to them for protection against 
 
 the Giants, who are already coming to claim 
 
 their reward. Their rough character and heavy 
 
 tread is well expressed by the Motive of the 
 
 (^ianfe (12). 
 
 THE ARRIVAL OF THE GIANTS. 
 
 Fafner. In vain Wotan and the two goddesses 
 Fasolt. look for the arrival of Loge, and of 
 the Gods, Donner and Froh. The Giants §afnet 
 and ;§a0Off enter, and demand from Wotan the 
 reward of their work. On the god's refusal to 
 give up P\eia, they remind him indignantly, that 
 his power over them has been attained by means 
 of treaties only; these treaties have been sealed 
 with Wotan's spear : to break them is to lose 
 his power.
 
 13 THE RHEINGOLD, 
 
 The Golden Fasolt, the gentler-natured of the 
 Apples. t^vo Giants, wishes to have Freia for 
 her own sake ; but the more cunning Fafner 
 tells his brother, that to deprive the gods of 
 Freia's presence is also important, because of 
 the (^of^Cn (^ppfc6 which grow in her garden, 
 and of which the gods partake every day, and 
 thus preserve their immortality. If Freia is no 
 longer there to tend these Apples, the gods will 
 grow old and feeble, and pass away. 
 
 The Motive of the (gof^en (^|J|)fe6 (13) 
 resembles, in a sweeter key, the Motive of the 
 Ring (7), and is likewise played on the horns. 
 The Apples constitute the treasure of the gods, 
 in which their power lies, just as the Ring con- 
 stitutes Alberich's treasure. 
 Donner. i he Giants at length attempt to drag 
 Froh. Freia away by force, when 'S)onnCf 
 and ;§ro^ arrive on the scene ; and Donner, 
 the Thunder-God, raises his hammer to strike 
 the Giants. 
 
 ^^'^otan interposes his spear between 
 Loge. . , • . 
 
 the combatants, and, just at this junc- 
 ture, feoge arrives. The music accompanying 
 his entrance, as it runs up and down on the 
 violoncellos, and flickers like flames, characterises
 
 SCENE IT. 14 
 
 his quick, slippery cunning, his everlasting change- 
 ableness and restlessness, which are no more to 
 be controlled, than the fire that is his element. 
 In this part of the drama Loge represents the 
 element of Intrigue. 
 
 To Wotan's question, why he did not come 
 before, to suggest a way out of this difficulty, 
 Loge gives an evasive answer. Being harder 
 pressed by Wotan, he asks, how he shall find 
 that which does not exist? This irritating reply 
 provokes Donner and Froh to anger : but again 
 Wotan intervenes, and demands from Loge a 
 more decisive answer. 
 
 LOGE'S STORY OF HIS GREAT QUEST. 
 
 Then follows Loge's narration, which, for poetic 
 beauty of language and music, is one of the most 
 striking passages in the first part of the drama. 
 Loge, in order to find a substitute for Freia, swept 
 through all corners of the earth, but learned, that 
 in the wide world nothing could take the place 
 of Woman. Wherever there was life in earth, air, 
 or water, no living thing would renounce Love. 
 A sweet melody on the clarionets, oboes, and 
 horns accompanies these words of Loge's,
 
 15 THE RHEINGOLD. 
 
 and may be considered as the Motive of 
 
 &oue (14)- 
 
 Loge further relates, that he found only one, 
 who was willing to renounce Love. And then he 
 tells his listeners of the Nibelung Alberich, and 
 of how the latter stole the Gold from the Rhine. 
 
 Loge adds, that he promised the Rhine- 
 daughters, that he would tell Wotan of their loss, 
 and would ask him to restore the Gold to the 
 Rhine. This angers Wotan. How shall he help 
 others, when he himself is in trouble ? 
 
 Meanwhile, Fafner has listened attentively to 
 Loge's story, and learns from him the power of 
 the Gold, in the form of a Ring. Fricka thinks 
 it would make a beautiful ornament ; and Loge 
 adds, that the possession of it would ensure to 
 her her husband's fidelity. 
 
 Wotan, whose mind is fixed on winning absolute 
 power, asks Loge how it would be possible to 
 get the Ring. Wotan cannot bring himself to 
 curse Love, and, even if he would, it is now too 
 late ; as Alberich has already done so, and is in 
 possession of the Ring. Loge then advises 
 Wotan to steal it from Alberich, as the Nibelung 
 himself stole it from the Rhine-daughters. But 
 to the Giants, too, the possession of the Gold
 
 SCENE J I. 1 6 
 
 seems more desirable than the possession of 
 Freia : they are also willing to renounce Love, in 
 the person of its Goddess, if Wotan will procure 
 for them the Gold. As Wotan remonstrates, 
 they seize Freia, and drag her ofT with them as 
 a hostage, till the evening, when they will return, 
 to see if the Gold is ready for them. 
 
 Loge watches them, as they depart for ^xt&tXK", 
 ^eim (the Giants' home), carrying Freia with 
 them. Then, turning to his companions, Loge 
 sarcastically enquires, " How fares it with the 
 happy gods?" A sort of dark mist has sunk 
 over the scene, which makes them all look pale 
 and old ; and a sorrowful motive, resembling 
 somewhat that of the Ring, is heard on the wind 
 instruments and violoncellos ; it is the Motive of 
 ©arftneSS (15)- Loge then explains to them 
 the cause of this transformation. They have not 
 partaken to-day of the Golden Apples of youth; 
 the race of gods will die out, if Freia does not 
 come back to them. 
 
 A GOD'S DESCENT TO THE DWARFS. 
 
 With sudden determination, Wotan resolves to 
 take from Alberich the Gold, with which to buy
 
 17 THE RHEINGOLD. 
 
 back eternal youth. He disappears with I.oge, 
 amid flames, into a cleft in the rock, in order to 
 descend to QtiBcf^Cttn, the underground home 
 of the dwarfs. 
 
 The sulphurous vapour from the flames, which 
 accompany the departure of the two gods, darkens 
 into black clouds, and the scene seems to sink 
 deep down into the earth.
 
 SCENE III. 1 8 
 
 SCENE III. 
 
 NIBELHEIM. 
 
 Alberich. The third scene opens in (Utficf^eim, 
 Mime, the home of the Nibekingen. We see 
 before us a sort of subterranean vault, or cavern, 
 surrounded by rock : in this rock are various dark 
 openings. The light diffused over the scene is 
 subdued and reddish. 
 
 Ihe (Ttifiefungeu Motive (i6) consists of a 
 rhythmic movement, the metallic sound of which 
 resembles the regular fall of a hammer on the 
 anvil. This motive represents the occupation of 
 the Nibelungen as goldsmiths, who work into 
 shape the gold, which they find in the earth. 
 The As this Nibelungen Motive resounds, 
 
 Tarnhelni. (^ffieHc^ emerges from one of the 
 openings in the rock, dragging by the ear the 
 dwarf, ^ttmc, his brother. Only on Mime's 
 saying, that the cap which he carries in his hand is 
 ready for Alberich, does the latter release him.
 
 19 THE RHEINGOLD. 
 
 Mime then produces the ^fim^cftYl, a cap of 
 
 wonck'tfiil, magic power. Its possessor is enabled, 
 by donning it, to make himself invisible, or to 
 change immediately into any form he wishes. 
 The Motive of the ^Cltn^cftn (17), with its 
 weird chords, that rise and fall on the horns, 
 expresses well the dark, magic power of the cap, 
 and the effect of that magic on the person who has 
 invoked it, 
 
 ALBERICH SEIZES THE TARNHELM. 
 
 Mime has put all his cunning skill into this 
 Tarnhelm, which Albciich, with special direc- 
 tions as to its manufacture, ordered him to make. 
 But, though he suspects the hidden power in the 
 cap. Mime has not been able to find out what that 
 power is. However, he is not left long in ignor- 
 ance. Alberich no sooner has it in his hands, 
 than he tests its power at once, by making himself 
 invisible to the astonished Mime, whom he un- 
 mercifully beats and pinches, and then leaves him 
 howling on the ground. 
 Wotan. While Mime lies groaning, where 
 
 Loge. Alberich has left Ir'ni, n^JofciU and 
 &03C t-Hter. They learn from Mime the cause
 
 SCENE III. 20 
 
 of his misery, and of Alberich's unmerciful rule 
 over his own brother, and over the whole Nibeluna; 
 race. Loge comforts Mime with promises of help. 
 
 ALBERICH'S RULE LN NIBELHELM. 
 
 (^f6ertC^ now re-enters the scene, armed with 
 
 a whip, and driving before him a crowd of ^\^t'^ 
 
 fungen, laden with gold, which they pile up into 
 
 a heap, amid scolding and blows from their 
 
 master. 
 
 ^, . Alberich then draws from his finger 
 
 The Ring. ^ ^ 
 
 the Q^ing, which he kisses, and holds 
 up threateningly : at the sight of it, the terrified 
 dwarfs hurry off into the rocks, uttering the most 
 pitiful cries. 
 
 The Motive of the Ring (7) is followed here 
 by dark, ominous chords on wind instruments 
 and kettledrums, which form the Motive of 
 
 Alberich then perceives Wotan and Loge, and 
 addresses them curtly with the words, "What do 
 you seek here?" Wotan explains that rumours 
 of Alberich's fame have reached them, and they 
 have come out of curiosity. Alberich believes it 
 5
 
 21 THE RHEINGOLD. 
 
 is jealousy which has brought them. Loge inter- 
 poses, and asks Alberich if he does not remember 
 his friend. But Alberich answers, that Luge is 
 now a friend of the gods, and that he, therefore, 
 no longer trusts his friendship. Alberich defies 
 him and all of them. He shows the two gods the 
 ^tC<l0UtC» explaining that what they see there is 
 but a miserable little heap, compared with the 
 dimensions it will soon attain ; and that with this 
 treasure he is going to make himself master of 
 the whole world. The Motive of the ^rCClEUfC 
 (19), when it shall rise out of the ground, to work 
 such evil on the earth, resounds on the double- 
 basses and bassoons, and ascends the scale in 
 sinister, threatening tones. 
 
 The gods, who "live, laugh, and love" on the 
 heights, are the object of Alberich's bitterest 
 hatred : they too shall come under his dominion. 
 To the tragic Motive of Renunciation (8), 
 Alberich declares that all living beings shall 
 renounce Love, as he has done : like him, all 
 shall be greedy for Gold, and all shall be its slaves. 
 A demoniacal rage against all that is pure and 
 noble possesses this son of darkness; and his 
 warning to Wotan, to beware, is full of menace 
 and scorn.
 
 SCENE I If. 22 
 
 ALB ERICH TRAPPED BY THE 
 TARNHELM. 
 
 Wotan's anger is aroused by the insulting words 
 of the Nibelung : but Loge speedily intervenes, 
 and with his cunning outwits the boastful dwarf, 
 and persuades him to show them the power of 
 the Tarnhelm. Alberich puts on the ^<K'!f, and 
 changes into a snake-like ^fd^OU. Then this 
 creature crosses the stage, to the accompaniment, 
 on the brass instruments, of the Motive of the 
 '©tCigoit (20), a gliding movement, whose notes 
 rise and fall in a manner which reminds us of 
 the writhings of a snake. 
 
 Loge, not content with this, requests Alberich to 
 change into something so small, that the narrowest 
 crevice would contain it. Alberich complies, and 
 changes into a foO.^, on which Wotan sets his 
 foot, while Loge pulls the Tarnhelm off; and 
 Alberich lies there, struggling to free himself. 
 Loge binds him, and they drag him, between 
 them, up on to the earth's surface. The Nibelun- 
 GEN Motive (16) accompanies their departure 
 from Nibelheim ; and the Ring Motive (7) 
 resounds with ominous significance, as the fatal
 
 23 THE KHEINGOLD. 
 
 symbol is traiisfcired, with Alberich, on to the 
 tops of the mountains, to spread its evil influence 
 among the gods. 
 
 The scene now changes, and we again see the 
 mountain-tops, and T2?af^aff, as at the com- 
 mencement of the second scene.
 
 SCENE IV. 24 
 
 SCENE IV. 
 
 OjV the MOUNTAIN-TOPS. 
 
 n^Jotan anb £-Oge set their prisoner down on 
 a rock. Loge answers (^ffieriC^'S threats of 
 vengeance with the ironical advice, to try and 
 free himself first. Wotan names, as the price of 
 his freedom, the gold of the Nibelung. Alberich 
 once more uses the QRing, to call up from their 
 underground homes the (Uifiefungen, who bring 
 with them the ^veaeute. He then demands 
 to be set free. 
 
 But, in addition to Treasure and Tarnhelm, 
 Wotan desires to have the Ring, the symbol of 
 Omnipotence. 
 
 Alberich would sooner lose his life than the 
 Ring. He reminds Wotan of the unholy means 
 by which he (Alberich) came into possession of it. 
 The Nibelung, however, only sinned against him- 
 self, but Wotan, in possessing it, would sin against 
 all that was, and is, and is to be. These ominous
 
 25 THE RHEINGOLD. 
 
 words of Alberich's, however, are in vain. Wotan 
 takes the Ring from him by force ; and with a 
 cry of " Woe is me, the most sorrowful slave of 
 the sorrowful," Alberich sinks into an attitude 
 of abject misery. We hear again the significant 
 Motive of Renunciation (8). The sinister, 
 syncopated passages, on tlie clarionets and 
 violoncellos, which follow, form the Motive of 
 (^fi3enc^*6 (Retjenge (:2i): we are thus shown, 
 that sorrow for his loss is immediately followed 
 by desire for revenge. 
 
 A LB E RICH CURSES THE RING. 
 
 Wotan then bids Loge loose the Nibelung's 
 bonds. When he finds that he is free, Alberich 
 raises himself from the ground with a demoniacal 
 laugh, and, in his impotent rage and misery, uses 
 to its utmost the one power that is left him. 
 In order that the results of his own crime may 
 continue, and bring similar misery, and final 
 annihilation to the gods, and to the whole world, 
 he curses the Ring with a terrible cut0C. It 
 shall bring death to him who wears it. No 
 happiness shall be attached to the possession of 
 it. Its owner shall suffer torments of anxiety;
 
 SCENE IV. 26 
 
 and those who have it not, shall be consumed 
 with envy. Everyone shall be eager to possess it ; 
 while no one, who uses its unlimited power, shall 
 be content. It shall bring misery and death to all 
 alike, till it again comes into Alberich's hands. 
 "Thus, in his utmost need, does the Nibelung 
 bless his Ring." With these fearful words 
 Alberich disappears through a cleft in the rock. 
 
 A new motive is now attached to the Ring ; 
 the Motive of the CufSe (22). This phrase 
 has none of the sorrow expressed in the Motive 
 of Renunciation (8) ; it is full of hatred, bitter- 
 ness and defiance ; the notes and intervals bring 
 out with terrible distinctness and emphasis the 
 fearful words of the Nibelung. 
 Fricka. Wotan, meanwhile, remains wrapped 
 Donner. in contemplation of the Ring. Now, 
 Froh. jQQ^ tj^g other gods reappear on the 
 scene. We hear the Motive of the Giants (12) 
 as they come from afar, bringing %XtX(X with 
 them. At her approach the air seems lighter. 
 
 Freia '^^"'^ S°^^ ^^^^ ^^^^^ '^'^^ ^^^ (BiC^f 6 
 
 Fafner. as they enter. The gender natured 
 
 Fasolt. of the two, Saeoff, gives up Freia 
 
 reluctantly, and wishes to have the gold piled up 
 
 so high, that she will be hidden behind it. To
 
 27 THE RHEINGOLD. 
 
 complete the pile, the ^avu^efm has to be added 
 
 to the gold : but still Freia's bright glance is seen 
 through a crevice. To sto[) this up, Safuet 
 demands the Ring, which he sees on ^Votan's 
 finger. r>ut Wotan will not part with it; and 
 Loge reminds the Giants, somewhat ironically, 
 that it belongs to the Rhine-daughters. 
 
 ERDA BEFORE THE ASSEMBLED 
 GODS. 
 
 Again the Giants are about to drag Freia off 
 between them, when suddenly darkness falls 
 upon the scene, and, through an opening in the 
 ground, comes up a woman's form, visible in the 
 bluish light, which plays around her. It is 
 (Svb^t ^^"'c Spirit of the Earth, gifted with a 
 knowledge of the secret forces of nature ; forces 
 that direct and govern all that is, and before 
 whose power even gods themselves must give 
 way. 
 
 With Erda's appearance arises the Motive of 
 ^CSfiu^ (-3)- This motive is similar to that 
 of the Primeval Element (i); the intervals, 
 the rhythm, and the ascending form of both 
 motives being allied. Only, the Motive of Destiny
 
 SCENE IV. 28 
 
 has a more earnest character, and is immediately 
 followed by a descending movement, in a major 
 key. lliis major is the Motive of the (BxHrxCi 
 fionof f^C (0O^g (23a). Both motives resound 
 on the violins. Now the latter motive accom- 
 panies the solemn words, with which Erda warns 
 Wotan, that the gods' day is coming to a close, 
 and that the end is near. This it is which has 
 brought her up from the bowels of the earth. 
 She advises Wotan to avoid the curse attached 
 to the Ring, and thus to escape the danger of 
 annihilation which threatens him and his race. 
 Here recurs the Motive of Alberich's Revenge 
 (No. 21). 
 
 THE EFFECT OF THE CURSE. 
 
 Having thus awakened fear and anxiety in 
 Wotan's bosom, Erda slowly sinks down again 
 into the earth. Wotan tries to follow her, but 
 the other gods prevent his doing so. Her warn- 
 ing has not, however, been in vain. Wotan gives 
 up the (King to the Giants, who instantly begin 
 to dispute over the possession of it. Each wants 
 to have it, and Fasolt, who gets hold of it, falls 
 a victim to the curse. A blow from Fafner's
 
 29 THE RHEINGOLD. 
 
 cudgel brings liini to the ground, dead. Wotan 
 
 realises for the first time the terrible power of 
 
 the curse, and resolves to seek out Erda, and 
 
 to learn from her how to banish the fear and 
 
 anxiety which have taken possession of him. 
 
 ^ricftci then draws his attention to 
 Walhall. „^ „„ . , , 
 
 T3?Clf9<lfl, the castle which has been 
 
 paid for with such anguish and trouble, and 
 which no longer has the same charm for Wotan, 
 in the light of evening, as it had, when, on 
 awakening, he first contemplated its battlements. 
 The majestic Motive of Walhall (9) is in- 
 terrupted by the Motives of Destiny (23) and 
 of the Ring (7). 
 
 THE RAINBOW-BRIDGE. 
 
 Meanwhile, the air has grown heavy as before 
 a storm, and Donncr calls up the thunder and 
 lightning, to clear the surcharged atmosphere. 
 The music here is a sound-picture : Donner's 
 invocation to the elements forms the Motive 
 of ^fornt <X\\ii 10?i)t^ (24), and is accompanied 
 by the violins and violoncellos, while the rolling 
 of the thunder follows on the double-basses. 
 As the air gets lighter, and the clouds pass
 
 SCENE IV. 30 
 
 away, a sweet melody grows out of the stormy 
 elements, and a Q^atn6on) spans the Q^^ine, 
 from the shore on which the gods stand to 
 n3?Clf^(lff, forming a beautiful bridge by which 
 to enter the castle. 
 
 Here again a new motive resounds, one resem- 
 bling the Motive of the Gold. This new phrase 
 is the Motive of the ^njor^ (25) : for a new 
 thought, born of his anxiety, arises in Wotan's 
 breast. To protect Walhall and the gods from 
 Fafner, in whose hands the Ring now lies, and 
 from Alberich, who is planning dark schemes of 
 revenge, Wotan resolves to create heroes and 
 warrior-maidens, to fight in his cause, and the 
 Motive of the Sword (played by a trumpet) 
 signifies the strength they are to receive from 
 Wotan. 
 
 THE GODS' ENTR Y INTO WALHALL. 
 
 Now Wotan advances with Fricka, to cross the 
 Rainbow-bridge. But, as he sets his foot on it, we 
 hear the plaintive song of the Q^^tne;^Clug^fer6, 
 bewailing their lost treasure. Loge answers their 
 complaint with his usual sarcasm, advising them, 
 now that their Gold is lost to them, to sun them-
 
 31 THE R BEING OLD. 
 
 selves in the newly-acquired glory of the gods. 
 These latter laugh as they cross the bridge. Loge 
 looks after them scornfully. He knows they are 
 hastening to their end, and he is almost ashamed 
 of being in their company. However, after reflect- 
 ing, he follows them, half reluctantly, over the 
 bridge into Walhall. 
 
 The music of the Rhine -daughters resounds 
 again in sad tones, and, in vivid contrast, the 
 magnificent Walhall Motive (9) swells and rises, 
 and soon dominates all other motives, till it forms 
 a grand triumphal march by the whole orchestra, 
 as the gods enter Walhall
 
 of t^e 
 
 The Reign of Law shown in the inevitable meeting 
 and affection of those predestined for each other ; 
 in the triumph of Morality ; in the futility of fight- 
 ing against Fate ; and in the impossibility of escape 
 from the consequences of Disobedience. 
 
 33
 
 ^be Mamure. 
 
 The Overture. 
 
 The Overture of the Walkiire forms a striking 
 contrast to the state of perfect peace which we 
 found in the opening music of the Rheingold. 
 This second part of the drama opens with the 
 orchestral representation of a distant sform in 
 the forest. The wind sweeps through the violins ; 
 while on the violoncellos and double-basses we hear 
 notes that resemble the footsteps of a man, mak- 
 ing his way through the storm, at first hurriedly, 
 and then more slowly and heavily, as if he were 
 growing weary. The music rises and swells as 
 the storm approaches, and then sinks again into a 
 low murmur as the raging of the elements seems 
 somewhat to abate, the flashes of lightning growing 
 less frequent, and the peals of thunder more distant. 
 
 34
 
 35 THE WALKUKE. 
 
 ACT 1. 
 
 THE MEETING OF TWIN-SOULS} 
 
 When the curtain is lifted, we have 
 ^ ^ " ' before us the interior of a hut in the 
 forest : the floor and walls are here and there 
 covered by the skin of some wild animal, or by 
 woven or plaited matting. In the centre of the 
 room stands the trunk of a mighty oClft, whose 
 roots rise above the floor, and whose top branches 
 have grown out through an aperture in the roof. 
 A primitive hearth, in which a fire is burning, 
 stands in the foreground. The evening darkness 
 has already begun to fall. 
 
 Suddenly the door opens, and a man, clad in 
 
 ' Although I dislike footnotes, I am almost compelled, 
 just as this work is going to press, to subjoin the following. 
 
 As Marie Corelli has recently been scolded by a 
 " cetisorions body " in the Press, for having made use of 
 the above phrase, it Tnay, perhaps, be as well to poifit 
 out that this phrase was sanctioned, even if it was not 
 actually invented, by Matthew Arnold.
 
 ACT I. 36 
 
 skins, staggers into the hut, and across to the 
 hearth, where he sinks down, as if so exhausted 
 that his weary limbs will carry him no farther. 
 He is ^iegmun^, Wotan's son, who has been 
 pursued by his enemies through the forest, in 
 the midst of the storm. A few low notes, on a 
 violoncello, as he enters, form the Motive of the 
 
 ^ire^ ^iegmun^ (26). 
 
 In his search for shelter, Siegmund 
 Sieglindc. . . , 
 
 has arrived, unconsciously, at the hut 
 where his long-lost twin-sister, ^iegfttt^e, is kept 
 in ignoble bonds by her husband, Hunding. She 
 now enters, and, bending over the half-unconscious 
 Siegmund, whom she does not recognise, she tries 
 to see if he is ill, or only sleeping. A few soft, 
 sweet notes from the violins accompany her 
 movement, and form a Motive of ^tegfinbe'c 
 
 Compaeeion (27). 
 
 MUTUAL CONFESSIONS. 
 
 Siegmund suddenly raises his head, with the cry 
 of "A spring, a spring!" Sieglinde fetches him 
 water from the spring. When he has quenched 
 his thirst, his glance falls on her, and he observes 
 her with growing interest : for the first time, the 
 6
 
 37 THE WALK Ore. 
 
 Motive of ^tegmun^'g (xxCti ^tegfinbe's 
 
 %,OXit (28) resounds on the violoncellos. 
 
 In answer to his questions, Sieglinde replies, 
 "This house and this woman belong to Hunding,'" 
 and she bids him await Hunding's return. Sieg- 
 mund asks if her husband will refuse hospitality to 
 a wounded man. Sieglinde anxiously requests to 
 see the wounds : but he replies that they are only 
 slight. Sieglinde then offers him mead, wliich he 
 consents to drink only after she has tasted it. 
 Her pity for him, in his helpless state, and his 
 gratitude for her kindness, already form the be- 
 ginning of love in their hearts. 
 
 However, Siegmund, now refreshed and strength- 
 ened, rises to his feet, and prepares to depart. 
 He tells Sieglinde, that he is born to suffer, and 
 that misery and misfortune cling to him, wherever 
 he goes ; he does not want to bring them to her. 
 But she cries out unguardedly, that he does not 
 bring misfortune into a house where it already 
 exists. Siegmund turns, and looks at her inquir- 
 ingly till her eyes drop under his gaze. He then 
 goes slowly back to the hearth, with the words, " I 
 will await Hunding." Thus they remain, silently 
 watching each other, and from the orchestra 
 resounds the Motive of Their Love (28), — long
 
 ACT L 38 
 
 drawn-out notes full of passion, of yearning, and of 
 unutterable sweetness and pathos. Their common 
 suffering and misfortune serve to link them to- 
 gether ; and, without mutual recognition, they are 
 drawn to each other by a love which is not the 
 love of brother and sister. 
 
 * * * 
 
 The subsequent union of this brother and sister, 
 irreconcilable with the universal instincts of human 
 morality, assumes a different complexion, and has 
 to be judged from a different standpoint, when the 
 symbolical nature of the whole drama, and the 
 mythological sources from which it is derived, are 
 taken into consideration. Such unions, in the 
 cases of gods and goddesses, are common to the 
 legends of both Egyptian, classical, and Scandi- 
 navian mythology. It may suffice to mention the 
 instances of Osiris and Isis, of Jupiter and Juno, of 
 Cronos and Cybele, and of Fro and Freyja. The 
 divine origin of the Walsung twins is meant to set 
 their action in a different light from that in which 
 it would appear, had they been the offspring of 
 human parents. Their blood relationship is merely 
 the outward symbol of the mystic affinity of two 
 divine natures, that complement each other in the
 
 39 THE WALKURE. 
 
 evolution of a perfect hero. They were, from the 
 first, created and destined for each other by the 
 god, who willed the generation of a new race, which, 
 like all new races that are evolved according to 
 this design and by this method, must, in their 
 inception, obviously depend upon a union of the 
 kind in question. 
 
 HUNDING'S APPEARANCE. 
 
 The reverie of the Wiilsung pair is suddenly 
 broken in upon by a harsh, rough, although some- 
 what heroic motive, on the horns. This phrase, 
 which constitutes ^un^ing'6 Motive (29), in 
 form and rhythm resembles somewhat the Nibe- 
 LUNGEN Motive (16) and the Motive of the 
 Giants (12) : for his character has also some of 
 the same barbaric elements as theirs, and forms a 
 marked contrast to that of the fair TD?df6Ung 
 X(xtti sprung from a divine origin, to which Sieg- 
 mund and Sieglinde belong. 
 
 On her husband's arrival, Sieglinde 
 
 "" '"^" opens the door to him. At once he 
 
 perceives the stranger, and questions Sieglinde by 
 
 a look. She explains how she found Siegmund
 
 A CT I. 40 
 
 lying exhausted on the hearth, and how she tended 
 him. The soft and sad Motive of ^tegmun"^'6 
 an^ ^iegftnbe'6 ^orroitj m £,oue (3o)> which 
 
 recurs often on the stringed instruments during 
 this scene, resembles somewhat Sieglinde's Motive 
 of Compassion (27). 
 
 After an intimation to Siegmund, that he will 
 entertain him as a guest, %\XX^\W(i roughly orders 
 Sieglinde to prepare the meal. While she does so, 
 Hunding observes the stranger, and is struck by his 
 likeness to Sieglinde. In answer to Hunding's 
 question, of how he came hither, Siegmund answers, 
 " Through wood and meadow, over heath and hill, 
 I was chased by the storm and by dire distress ; 
 I know not the way that I came. Whither I 
 wandered, know I still less, but gladly would I 
 gain information." 
 
 Sieglinde, meanwhile, has prepared their meal, 
 and now joins them as they sit down to it. 
 Hunding asks Siegmund to tell them more of 
 his history. Sieglinde fixes an eager, questioning 
 gaze on him ; and we hear from his lips the 
 following wild and weird narration.
 
 41 THE WALKURE. 
 
 SIEGMUND'S STORY. 
 
 Siegmund's father was named "TToffe. With 
 a twin-sister Siegmund came into the world. One 
 day Wolfe and his son, on their return home from 
 a hunt in the woods, found their dwelling sacked 
 by enemies : the house was burnt down, the mother 
 killed, and no trace of the sister to be found. 
 
 Despised, hated, and hunted by their enemies, 
 the father and son lived for a long time in 
 the wilds of the woods. Once, in flight before 
 their pursuers, the son (who took the name of 
 10?offing) was separated from his father, and 
 could afterwards find no trace of him, except 
 an empty wolf-skin in the forest. In his loneli- 
 ness, Wolfing left the woods, to mingle with his 
 fellow-men; but could find no friend, and only 
 met with contempt and anger. Wherever he 
 sought for happiness, he found only sorrow. He 
 had therefore named himself ** 10?e^tt)aff " (the 
 master of sorrow). 
 
 He relates further, that a maiden, whose kindred 
 wanted to force her into a loveless marriage, called 
 him to her help. He fought for her, and killed 
 her brother ; but their friends and serfs rushed in
 
 ACT /. 42 
 
 overpowering numbers upon him. With difificulty 
 he protected her and himself for some time, till his 
 spear and shield were hacked to pieces. He saw 
 the maiden die; but managed to escape himself, 
 though weaponless. 
 
 Then Siegmund rises and turns to Sieglinde, 
 who is deeply moved by this tragic story. We 
 now hear, for the first time, the Motive of the 
 n3?df6Ung (Race (sO- ^^ heroic, but tragic, 
 motive, which characterises the Walsungen 
 throughout the drama, and, by its similarity to 
 the Walk ALL (Wotan) Motive (9), shows their 
 divine origin. 
 
 Hunding's looks have grown blacker during this 
 narration of Siegmund's : for in the latter he 
 recognises the man against whom he was called 
 out to fight. Arriving too late on the scene, 
 Hunding had returned home, and now finds the 
 enemy on his own hearth. Nevertheless, he will 
 give Siegmund shelter for one night ; but on the 
 morrow the latter must prepare to fight with 
 him. 
 
 SIEGLINDE'S SIGNS. 
 
 Hunding orders Sieglinde to prepare his nightly 
 beverage, and then to go to rest. As she mounts
 
 43 THE WALKtyRE. 
 
 the steps to a door at the side of the scene, 
 SiegUnde turns, and looks long and yearmngly 
 at Siegmund, and again we hear their Love 
 Motive (28). She then directs her glance signifi- 
 cantly towards the odft in the centre of the hut, 
 and the Sword Motive (25) resounds from a 
 trumpet in the orchestra. Hunding suddenly 
 turns, and makes an angry gesture to her to 
 be gone ; whereupon she disappears. Hunding 
 collects his weapons, and follows her. 
 
 ^Siegmund is left alone on the hearth. 
 The Sword. 
 
 by the slowly-dying fire. He is lost in 
 
 thought for some time. Then he recollects how 
 his father had told him of a sword, which he 
 would find in his greatest distress. Is not that 
 time come ? He is alone and weaponless in his 
 enemy's house. He sees here, miserable like him- 
 self, and in the power of this rough Hunding, a 
 woman whom he loves ; and he is unable to 
 defend her. For how shall he fight without 
 weapons ; and where is the sword, " the strong 
 sword," of which he stands so much in need ? 
 
 Meanwhile the fire has got lower and lower, 
 and now the ashes fall together : the red glow lights 
 up that part of the oak on which Sieglinde's look 
 rested, and a ^njor^;^ift is distinctly visible.
 
 Sieglinde. 
 
 ACT I. 44 
 
 But Siegniund does not see it : he only thinks 
 of the glow in Sieglinde's eyes before she went 
 to rest, which was as the last rays of the setting 
 sun, ere it sinks behind the mountains, and dis- 
 appears from our sight, j 
 
 Now the fire has gone out, and it 
 is quite dark. The door, by which 
 iegfinbc disappeared, opens, and she enters. 
 Hurrying up to Siegmund, she bids him use the 
 night to save himself. For him, however, her 
 mere presence is salvation. She then tells him 
 that she became Hunding's wife by force. As 
 she sat sadly at the marriage ceremony while the 
 men drank, a stranger entered the hall. A hat, 
 hanging over his face, hid one of his eyes. Here 
 the Walhall Motive (9) tells us that the 
 stranger was no less than Wotan. Sieglinde goes 
 on to relate that in his hand he carried a sword, 
 the blade of which he thrust into the trunk of the 
 oak. Only the man who should be worthy of it 
 would be able to pull the sword out of the tree. 
 Guests came and went, and the strongest among 
 them tried to wrench out the sword, but not one 
 could move it an inch. Then SiegHnde knew, that 
 only he who should be her friend and deliverer 
 would win the weapon, and free her from her
 
 45 THE WALKURE 
 
 sorrow and distress. She hopes that it may be 
 Siegmund. 
 
 "&' 
 
 THE LOVE SCENE. 
 
 Siegmund has Hstened with increasing agitation 
 to her recital, and, as she concludes, he seizes her 
 in his arms, and passionately declares his love for 
 her. At this moment the door of the hut opens 
 wide ; and the full moon floods the scene with 
 light, and illumines the pair. Sieglinde starts 
 back affrighted, but Siegmund reassures her, and 
 leads her gently to a couch beside the hearth. 
 Drawing her down to him, he sings the wonderful 
 
 love-song, " I0?tnfer ; gforme njane fo t^e 
 goung ^(xt moon" (32). 
 
 This song, with its delicate accompaniment of 
 harps, violins, and violoncellos, is one of the 
 loveliest in the drama. The whole scene, indeed, 
 is one of great poetic beauty. 
 
 To Siegmund's caressing tones Sieglinde listens 
 in a sort of ecstasy, giving up her whole being to 
 the magic influence of this love. Gradually, in 
 their transport of bliss, they become aware of their 
 likeness to each other, and Sieglinde further recog- 
 nises Siegmund's likeness to Wotan, whom she had
 
 ACT I. 46 
 
 known as her father, under the name of lO^Cifee. 
 
 To her question of " Art thou really named 
 VVehwalt ? " Siegmund answers, that Walse was his 
 father, and that he is a Walsung j but Sieglinde 
 shall give him the name by which she loves him 
 best. Sieglinde can hardly contain herself : she is 
 sure now, that for him the sword was put into 
 the oak, and she names him "Siegmund" (Sieg 
 = victory). 
 
 With a cry of " Siegmund I am, and Siegmund 
 is my name," he seizes the hilt of the sword. It is 
 the weapon promised to him by his father : this is 
 the hour in which he most needs it. The very 
 love of the pair is the result, as it is also the cause, 
 of their common distress. And the shadow of the 
 curse, which Alberich's Ring cast on Wotan, rests 
 also on the god's offspring. The sword, too, is the 
 symbol of a power equal to that of the Gold : a 
 power which sets law and destiny at defiance, ai:id 
 brings death in its wake. 
 
 Even in the midst of Siegmund's and Sieglinde's 
 
 triumphant joy, we hear, like a solemn warning, 
 
 the Motive of Renunciation (8). 
 
 Now, with an effort of superhuman 
 Nothung. . , 1 , 1 
 
 strength, Siegmund draws the sword out 
 
 of the tree-trunk. He gives it the name of
 
 47 THE VVALKURE. 
 
 '*(Uof^Ung" (AW/^ = distress). I'lourisliing it 
 high in the air, he seizes SiegHiide with his 
 other arm. She now tells him that she is his 
 own sister, whom he has won at the same time 
 as the sword. She will also be his bride, and 
 they will promote the Walsung race by their 
 union. The Love Motive (28) sweeps wildly 
 through the orchestra, while the Sword Motive 
 resounds on a trumpet; and Sieglinde, with a 
 cry, falls on to Siegmund's breast. 
 
 As the curtain is lowered, the orchestra closes 
 suddenly with two ominous chords of the dark 
 NiBELUNG music, which seems to threaten the 
 love of the pair with Alberich's curse ; and we 
 feel that the tragedy of their existence is draw- 
 ing to a climax.
 
 ACT 11. 48 
 
 ACT II. 
 
 The Prelude. 
 
 The music which forms the Prelude of the 
 second Act is Ukewise stormy and wild. The 
 flight of the Wiilsung pair from Hunding's house, 
 is represented, on the violins, by the AIotive 
 of Flight (h); and a new motive, very similar 
 to it in form, resounds on the same instruments : 
 this last phrase, whose quick movement is full 
 of energy and fire, is the n3?ar Cvj? of f^e 
 OPaffturen (33)- We are thus prepared for 
 the scenes that are to follow. 
 
 FATHER AND DAUGHTER. 
 
 Wotan. The curtain rises, and, amidst wild, 
 
 Brunnhilde, rocky scenery, we see HJ^of an, -'ind 
 his daughter (J0runn^ifJ>e, the Walkure. Both 
 are in armour, with spear and shield.
 
 49 THE WALKURE. 
 
 Wotan orders his daughter to prepare to fight 
 in the combat between Siegmund and Hunding, 
 and to win the victory for the former. Flourish- 
 ing her spear, and uttering the joyous Cry of the 
 Walkuren (33), Briinnhilde mounts the rocks, to 
 prepare for the execution of Wotan's commands. 
 
 As she arrives at the top, however, 
 the Walkiire turns round, with a 
 laughing admonition to Wotan to prepare for 
 battle himself; for his wife Sricfta is approach- 
 ing. As she appears, Briinnhilde descends the 
 rocks on the other side, and disappears from 
 view, leaving her father to his fate. \Votan hails 
 Fricka's appearance with anything but pleasure: 
 for he knows by experience that it will be "the 
 old storm, the old trouble"; nevertheless, he 
 must submit to it. 
 
 FRICKA'S CALL FOR VENGEANCE. 
 
 In this part of the drama, Fricka appears as 
 the Protectress of Marriage, and represents the 
 social law, that marriage is a sacred institution, 
 which may not be violated, even though it be a 
 loveless and unhappy union. That the Wiilsung 
 pair have set at defiance all social laws, and
 
 ACT II. 50 
 
 broken through long-established custom, is there- 
 fore, naturally, a fearful and lamentable crime in 
 Fricka's eyes. So she has, in her present role, 
 come to demand that Wotan shall help her to 
 punish the perpetrators of this offence, 
 
 Wotan, in answer to Fricka's remonstrances, 
 declares that he does not hold sacred the oath, 
 which binds together those who do not love 
 each other ; and advises her to bless the bond 
 of the lovers. Fricka's womanly indignation 
 knows no bounds ; and she exclaims, " Is it then 
 the end of the eternal gods, now that thou hast 
 created the wild Walsung race?" She goes on 
 to reproach him with having overthrown all that 
 he once held sacred; with infidelity to herself; 
 with having condescended to abase himself, to 
 the extent of engendering a pair of common 
 human beings, and of living in the woods, under 
 the names of Wolfe and Walse. She also gives 
 vent to the expression of her hatred towards 
 Briinnhilde, "the bride of his will, born to him 
 through the bonds of a wild love" (in reference 
 to his union with Erda). 
 
 Wotan answers Fricka, that she is unable to 
 understand that which had never before occurred. 
 His wish had been for a hero, who, " free from
 
 51 TflK WALKORE. 
 
 the gods' protection, would free himself from 
 their laws." For, only such a hero could 
 accomplish the deed (i.e. the recovery of the 
 Ring), which would deliver the gods from the 
 danger in which they were at present, through 
 Alberich's curse. 
 
 Fricka does not believe that such a hero could 
 ever exist, and thinks that it is a new artifice of 
 Wotan's to escape from her. But she reminds 
 him that Siegmund is not that free, unprotected 
 hero ; for he owes his existence to a god, and 
 his sword to divine favour. And she demands 
 that Wotan shall deprive that sword of its magic 
 power. 
 
 A new and oft-repeated motive, in this scene 
 between Wotan and Fricka, is the Motive of 
 T^ofan'e anger (34)- it is a deep, low motive 
 on the bassoons and bass clarionets, expressive 
 of repressed ire, and, in its descending form, re- 
 sembles the Motive of Wotan's Spear (id). 
 
 A GOD'S ANGUISH. 
 
 Wotan sees that he has deceived himself in 
 thinking it possible to deliver Siegmund from his 
 distress, and yet at the same time to make a
 
 AC7^ IL 52 
 
 free hero of him. If the god allows Siegmund 
 to be victorious, it will be contrary to the divine 
 laws, which have been established by Wotan 
 himself, and which constitute the power of the 
 gods. His wife Fricka would in that case have 
 to give way before the offspring of a mortal 
 woman. Such a defeat of the goddess's power 
 would bring scorn and disaster on to the whole 
 race of gods, and would cause their ruin. In 
 sorrow and anger, Wotan is compelled to acknow- 
 ledge Fricka's right, and he takes the oath which 
 she requires, to the effect that he will decide the 
 combat in favour of Hunding, the outraged 
 husband. 
 
 Fricka, now satisfied, takes her depar- 
 Briinnhilde. 
 
 ture. The HOJafiliire then reappears, 
 
 ready for battle, leading across the scene her 
 
 war-horse, ^XMXt* As she sees Wotan sitting 
 
 motionless, his head hidden in his hands, she 
 
 relinquishes her hold on the bridle, and, going 
 
 up to her father, asks him anxiously, what is the 
 
 matter. Letting his arm fall, and his head sink 
 
 on to his breast, Wotan answers in a broken 
 
 voice, " I am chained in my own fetters ; I, the 
 
 least free of all (beings)." Then he breaks out 
 
 passionately, " Oh, distress of the gods ; endless 
 
 7
 
 3i 
 
 THE WALKtyRE. 
 
 sorrow ; eternal fear ; the most miserable of all 
 am I." Briinnhilde, terrified, throws down helmet, 
 spear, and shield, and, kneeling at ^Votan's feet, 
 begs him to tell her all his distress ; for is she 
 not the expression of his will, and a part of 
 himself? Wotan caressingly strokes her upturned 
 face, and then relates to her the whole story, as 
 we already know it. He tells her of his longing 
 for power, and of the treaties and laws he made, 
 in order to acquire that power. He also touches 
 on the story of the Gold, of the Ring, and of 
 the curse attached to it. Further, he tells his 
 daughter of Erda ; how she warned him of the 
 curse ; how he sought her out in the bowels of 
 the earth, to learn wisdom, and from her received 
 the daughter to whom he is now confiding his 
 troubles. He then touches on the ruin that 
 threatens the gods through Alberich's curse; and 
 tells Briinnhilde, that his only hope and desire 
 has been for a free hero, to win back for them 
 the Ring, — that fatal emblem, now guarded by 
 Fafner, who has assumed the form of a dragon. 
 Only such an event could put an end to Wotan's 
 distress.
 
 ACT J/. 54 
 
 ERDA'S PREDICTION. 
 
 But the god now sees, that the curse, from 
 which he tried to escape, has attached itself to 
 him and his race. In his despair and misery, 
 he is ready to give up everything for which he 
 has striven and sinned ; and only longs for the 
 end, that he knows must now soon come. For 
 Erda had told him, that when a child, which 
 would be the fruit of hatred, should be born to 
 Alberich, the end of the gods would be near at 
 hand. Wotan has now heard that a woman, 
 whom Alberich bought with his gold, has borne 
 him a child. Wotan's blessing on the son of 
 the Nibelung is, that he may have for inheritance 
 the magnificent misery of the gods. 
 
 A motive, which is a combination of the 
 Motives of Destiny (23) and of the Gods' 
 End (23a), is introduced by the bassoons, during 
 Wotan's recital, and may be called the Motive of 
 
 'Wofan's <E)i6treB6 (35)- 
 
 ^^'otan now orders Briinnhilde to prepare to 
 fight, on Fricka's behalf, against Siegmund. For 
 the first time in her existence a discord springs up 
 in BriJnnhilde's bosom, occasioned by tiie conflict
 
 55 THE WALKURE. 
 
 of Wotan's own wishes. The god is fighting 
 against himself, as it were, by deciding in favour 
 of Hunding, against his beloved Siegmund. The 
 love he bears to the latter, Wotan has instilled 
 into BriJnnhilde's heart also ; and now she, too, 
 must fight against Siegmund. For the first time, 
 she fails to show implicit obedience to Wotan's 
 wishes. Only when he threatens her with his 
 anger, — anger that has brought terror and destruc- 
 tion into a world, which once laughed for the god's 
 pleasure, — does the Walkiire reluctantly gather up 
 her arms. They have become so heavy, now that 
 she has to use them against Siegmund ; and it is 
 with a slow, sad step, very unlike her usual 
 buoyancy, that she goes to await the combat, in 
 which she is to act such a hateful role. 
 
 THE FLIGHT OF THE LOVERS. 
 
 Meanwhile Wotan has departed, and BriAnnhilde 
 now disappears in a rocky cavern, till Siegmund 
 shall arrive. 
 
 Siegmund. Again we hear the Motive of Flight, 
 
 Sieglinde. ( 1 1 ) restless and hurried as the action it 
 
 describes, as, liku a hunted deer, Sieglinde enters,
 
 ACT 71. 56 
 
 breathless, and wishes to rush on. But Siegmund. 
 who quickly follows on her steps, catches her up 
 and holds her back, imploring her to rest. With 
 soothing words and caresses, he tries to calm and 
 comfort her, and, for the moment, he succeeds. 
 But a nameless anguish, a fear of something, from 
 which she must flee till she can go no farther, 
 seems to have taken possession of Sieglinde. Start- 
 ing up again out of Siegmund's arms, she entreats 
 him to leave her, declaring that she is dishonoured, 
 and has brought dishonour and shame on him. 
 Even in the most blissful moments of their love 
 she felt that she was under a curse. Now the full 
 force of this feeling comes upon her, and she 
 would save her only friend from the ruin which 
 she believes is threatening them both. In a sort 
 of terrified frenzy she cries that she can hear 
 Hunding's horn, and can see the dogs rushing on 
 Siegmund, to tear him to pieces. She then falls, 
 fainting, into Siegmund's arms. He holds her 
 carefully ; and, seating himself on a rock, lets her 
 gradually sink down, till her head rests on his 
 knee, while her form lies extended on the ground. 
 They remain thus in silence for some time, while 
 now and again he bends over her, and kisses her 
 forehead.
 
 57 THE WALKi'TRE. 
 
 Meanwhile (jBvuunBif^e, with horse 
 Brtinnhilde. 
 
 and armour, comes slowly out of the 
 
 cave, in which she has been waiting. She stands 
 
 for a long time, silently observing Siegmund, whom 
 
 she will have to kill in combat. 
 
 BR UNNHILDE 'S MISSION. 
 
 The solemn chords of the Motive of ©e<lf 3 
 (36) resound on the trumpets and trombones ; and 
 the Walkiire calls Siegmund's attention to herself, 
 with the words, " Siegmund, look at me : it is I, 
 whom thou wilt soon have to follow." She then 
 announces to him the approach of death. Sieg- 
 mund, impressed by her beauty and earnest 
 manner, asks who she is, and whither she leads 
 the heroes who follow her. " To Walhall shalt 
 thou follow me," is her answer. " Shall I find in 
 Walhall, my own father, Walse ? " asks Siegmund ; 
 and he learns that he will find him there. More- 
 over, Wotan's daughter will hand him the drink- 
 ing-horn. But, fair as Briinnhilde appears to him, 
 it is not of her that he thinks as he asks, if a 
 woman will greet him joyfully in Walhall. When 
 he learns that he will not see Sieglinde there, he
 
 ACT II. 58 
 
 cries, " Greet Walhall and Wotan from me ; greet 
 all the heroes ; greet also VVotan's fair daughter ; 
 but I will not follow thee thither. Where Sieglinde 
 lives, in joy, or in sorrow, will Siegmund also 
 remain." But Briinnhilde answers solemnly, that 
 death will force him to leave Sieglinde : for he 
 will be vanquished by Hunding. The very sword, 
 on which he relies for victory, will be deprived of 
 its magic force by him who gave it that force. 
 When he hears this, Siegmund hastily bids the 
 Walkiire be silent, and not to awaken Sieglinde. 
 Then, sorrowfully, he bends over the still motion- 
 less form, and caresses her. Alas for his beloved 
 bride ! A whole world has risen in arms against 
 her ; and now she is about to be deprived of his 
 protection. And Siegmund cries shame on him 
 who gave him the sword. 
 
 THE WALKURE'S COMPASSION. 
 
 The hero's sorrow and despair touch Briinn- 
 hilde deeply, as does the fact that all the delights 
 of Walhall are nothing to him, in comparison with 
 the sorrowful woman, who rests her tired head on 
 his knee. The daughter of the god offers to pro-
 
 59 THE WALKURE. 
 
 tect Sieglinde herself: but Siegmund will not 
 
 grant this right to anyone ; and sooner than leave 
 
 Sieglinde, he will kill her too. When he raises 
 
 his sword over her, Briinnhilde can bear it no 
 
 longer. She interposes her spear between the 
 
 sword and its victim, crying, " Sieglinde shall 
 
 live, and Siegmund with her"; and she promises 
 
 to turn the tide of battle in his favour. His utter 
 
 helplessness and misery have inspired Briinnhilde 
 
 with a pity akin to love ; and she forgets Wotan's 
 
 commands, in her compassion for the unhappy 
 
 pair. Siegmund looks gratefully after her as she 
 
 disappears. 
 
 Sieglinde still sleeps, blissfully un- 
 Hunding. 
 
 conscious of the scenes going on around 
 
 her, and of the sorrow awaiting her. The sweet 
 
 tones of Siegmund's Love Song (32) resound 
 
 faintly in the orchestra : but the soft echo is 
 
 immediately drowned by the sound of Hunding's 
 
 horn ; and then his voice is heard, calling to 
 
 Siegmund. The latter once more kisses the 
 
 sleeper's forehead, and then, gently letting her 
 
 down on to the ground, he leaves her, rapitUy 
 
 mounts the rocks in the background, and is lost 
 
 to view in dark lliundcr-cknids.
 
 ACT II. 60 
 
 THE RIVALS' ENCOUNTER. 
 
 The music becomes wild and stormy, and con- 
 tinues so till the end of the scene. 
 
 Sieglinde's dreams are now of the scene in her 
 
 childhood, when strange men carried her away, 
 
 out of her burning home. She calls her brother, 
 
 and awakes to find herself alone, in the darkness 
 
 of the storm. Through this darkness, she hears 
 
 the voices of ^ unking and ^iegmun^ ; and a 
 
 sudden flash of lightning reveals to her the forms 
 
 of the two men, fighting at the top of the rocks. 
 
 In her anguish, she cries to them to kill her first. 
 
 Suddenly a light shines over the scene : 
 Briinnhilde. , ,-,^ „„.. ,, / „s . , 
 
 Wotan *WafRUre Motive (38) is heard, 
 
 and (J0rUnn^if^e is visible, protecting 
 
 Siegmund with her shield. As the latter strikes a 
 
 violent blow at Hunding, another red glow in the 
 
 clouds reveals T3?ofan, vvho arrests the blow of 
 
 Siegmund's sword with his spear. The sword 
 
 breaks in two. 
 
 Briinnhilde has drawn back at the sight of 
 
 Wotan, and leaves Siegmund unprotected. Now 
 
 Hunding thrusts his sword into the defenceless 
 
 breast of his enemy, and the latter sinks dying to
 
 6 1 THE WALKURE. 
 
 the ground. Again we hear the Walsung Motive 
 (31) and the solemn Motive of Death (36). 
 
 ^ICgftU^C has watched this scene with breath- 
 less anxiety. As she sees Siegmund fall, she 
 utters a cry, and, throwing herself on the ground, 
 remains as if lifeless. 
 
 Darkness has again covered the scene. (J^tUUtt; 
 ^tfbc enters ; and, hurrying up to the half un- 
 conscious ^legfiu^C, and, raising and supporting 
 her in her arms, leads her away, with the words, 
 "To horse, that I may rescue thee." 
 
 The light again appears on the rocks, and 
 ODJofcin is seen, sorrowfully contemplating the 
 dead body of his favourite hero. Then, waving 
 his spear contemptuously, he bids Hunding go, 
 and kneel before Fricka, and announce to her, 
 that Wotan has avenged the insult offered to her. 
 At Wotan's gesture ^Ufl^iug sinks clown dead. 
 
 Now the Motive of Wotan's Anger (34) 
 resounds, and the god breaks out into wrathful 
 exclamations against Briinnhilde's disobedience, 
 and resolves that her punishment shall be terrible. 
 Amid thunder and lightning he disappears, and 
 the Motive of his Distress (35) closes the 
 stormy music of this Act.
 
 ACT in. 62 
 
 ACT III. 
 
 The Prfxude. 
 
 TiiE orchestra opens this Act with the wild, stormy 
 music, known as the Ride of the Walkiiren. 
 The (Rt^e Motive (37), which resounds on the 
 bassoons and violoncellos, springs from octave to 
 octave in a very characteristic manner. The trilling 
 of the wind and stringed instruments accompanies 
 the rushing of the wind; and, through driving 
 clouds and tempest, resound the exultant cries of 
 the warrior-maidens as they ride upon the storm. 
 The Motive of the Walkuren (38), on the horns 
 and trumpets, resembles closely the Ride Motive 
 (37), and is likewise full of spirit and energy, and 
 characteristic of their heroic, warlike nature, 
 
 THE RIDE OF THE WALKUREN. 
 
 The curtain is lifted, and we see an open 
 space^ on the top of a mountain, surrounded by
 
 63 THE WALKORE. 
 
 pine trees : a high rock, at the side, forms the 
 highest point of the mountain. At the back of 
 the scene the horizon is free, and across the 
 sky come driving clouds. 
 
 Four of the T2?<vffturen, in armour, with 
 spear and shield, are already on the mountain- 
 top, on the look-out for the other sisters. One 
 after another, in flashes of light, the other four 
 come riding down through the air, and alight on 
 the mountain -top. They leave their horses in 
 the wood, and enter the scene. Excited by 
 wind and tempest, the eight Walkiiren hail each 
 other with their joyous war-cry, waving their spears 
 in the air; and the scene is one of the liveliest 
 animation. 
 
 Brunnhilde. (jSrUUn^lf^C alone has not yet 
 Sieglinde. arrived : but soon she comes, riding in 
 haste, and bearing a woman in front of her on 
 the saddle. As she dismounts, supporting 
 ^tegfttt^^t '^^^ others go to meet her. The 
 Motive of Wotan's Distress (35) resounds as 
 she enters. He is following her; and she 
 breathlessly begs her sisters to help her. Two of 
 them spring up to the summit of the rock, and 
 call out, that from the North a dark storm is 
 coming, in which the god is approaching.
 
 ACT ///. 64 
 
 Hastily BiQnnhilde relates the story of Sieg- 
 mund and Sieglinde ; and implores one of her 
 sisters to lend her a horse, that she may escape, 
 with Sieglinde, from Wotan's anger. But her 
 sisters are horrified at her narrative, and dare 
 not help her against their father. 
 
 BRtJNNHILDE'S PROPHECY. 
 
 Sieglinde, who until now has stared vacantly 
 in front of her, apparently unconscious of what 
 is going on around her, is now aroused by a 
 caress from Briinnhilde. Sieglinde, however, 
 does not want to be saved, now that Siegmund 
 is dead ; and she entreats Briinnhilde to thrust 
 her sword into her heart. But Briinnhilde bids 
 her live, for the sake of the hero, whom she 
 will bear, — the pledge of Siegmund's love. A 
 sudden beam of joy lights up the face of 
 Siegmund's unhappy bride, and, falling on her 
 knees before the Walkiire, she now begs her to 
 save her and her child. 
 
 Briinnhilde resolves to stay, and brave Wotan's 
 anger, while Sieglinde escapes to the wood where 
 Fafner dwells, and, in the shape of a dragon, 
 guards the Ring. There she will be safe from
 
 65 THE WALKURE. 
 
 Wotan. Brunnhilde then gives Sieglinde the 
 pieces of Siegmund's sword, for her son. The 
 boy is to be called "Siegfried," and will be 
 "the world's most glorious hero." To these 
 words of Brunnhilde's, resounds, on the horns, 
 
 the Motive of ^iegfrte^t i^t HTdfEung (39). 
 
 a ringing triumphant motive, which, by its 
 
 prominence in the music of the drama, is worthy 
 
 of the hero whom it represents. But at present 
 
 it is only a momentary lull in the storm. 
 
 The angry god is rapidly approach- 
 Wotan. . ,. , , c^, 
 
 ing, and Sieglmde must depart, bhe 
 
 blesses Brunnhilde, and hurries away, just as 
 
 TTofan's voice is heard, commanding Briinn- 
 
 hilde to stay. The Walkiire's heart sinks, and 
 
 she again begs her sisters to try and help her. 
 
 They bid her hide behind them, and not answer 
 
 the call. 
 
 BR UNNHILDE 'S PUNISHMENT. 
 
 Now their angry father enters, and, standing 
 before the assembled Walkiiren, bids them give 
 up Brunnhilde. They try to soften his resolve 
 to punish her: but their entreaties are useless. 
 Of them all, she was the only one who was
 
 JJCT TTT. 66 
 
 acquainted with his innermost thoughts: none 
 knew his will as she did. And now she has 
 broken the bond that existed between herself 
 and her father. She has set him at defiance, 
 and disobeyed his command. She has used 
 against him, the very weapons his love had 
 assigned to her ; and at present she is hiding 
 from the well-merited punishment. 
 
 \A^hen she hears Wotan say this, QSrunu^if^e 
 steps slowly down from her hiding-place, and, 
 standing before him, awaits her sentence. Once 
 more he shows her the offence of which she is 
 guilty. Then he goes on to tell her, what is to 
 be her punishment. She can no longer be a 
 Walkiire. No longer will A\'otan send her from 
 Walhall's halls, to bring to him, from the battle- 
 field, his chosen heroes : no more will she hand 
 him the drinking-horn at the banquets of the 
 gods, or receive his caresses. She is cut off 
 from the gods, rejected from the race of im- 
 mortals ; and Wotan's face she will never see 
 again. 
 
 The sisters break out in exclamations of 
 " Woe ! " Briinnhilde herself cries, " Wilt thou 
 take from me all that thou once gavest?" Nor 
 is that all her punishment. She shall become a
 
 67 THE WALKVRE. 
 
 mortal woman ; and here, on this very mountain, 
 she shall be left defenceless and asleep, until 
 her awakening by one, to whom she henceforth 
 shall belong. 
 
 In \ain the other Walkiiren beg VVotan to revoke 
 this sentence : in vain they cry, that the shame 
 which has fallen on their sister will affect them 
 too. Wotan answers, that she is banished out 
 of their midst ; and no longer may she ride with 
 them through the air. She will lose her divinity 
 and immortality, and shall serve the man who is 
 to be htr master : at his hearth she must sit and 
 spin, the object of universal scorn and derision. 
 
 At this terrible sentence, Briinnhilde falls, with 
 a cry of anguish, at Wotan's feet. The god then 
 commands the other Walkiiren, if the lot of their 
 sister horrifies them, to avoid her ; and never to 
 offer her comfort or consolation. Whichever of 
 them should dare to do so, would meet wiih a 
 similar fate. A\'ith these words he dismisses the 
 lerriiied Walkiiren ; and a long silence ensues. 
 
 BR tJNNHILDE'S JUSTIFICA TION. 
 
 The Motive of Wotan's Anger (34) has been 
 the predominating one, up to this point. Now, as
 
 ACT ni. 68 
 
 Briinnhilde at length raises her head, and tries to 
 look into ^^^otan's averted face, a soft, pleading 
 motive accompanies her attempt to justify herself, 
 and niight be called the Motive oi (J$runn^tfbc'6 
 
 juefification (4°)- 
 
 She piteously asks, if the crime she committed 
 Avas so shameful and so dishonourable, that it need 
 be punished with shame and dishonour. She 
 knew, that ^Votan had loved Siegmund, and had 
 been forced by Fricka to destroy his favourite 
 hero. Moreover, she had been compelled to 
 witness, what Wotan had not seen, — Siegmund's 
 sorrow and despair. Her compassion for the 
 unfortunate hero had amounted almost to 
 love ; and her one desire had been, to share 
 life or death with him. She had not realised, 
 that Wotan, too, was in distress, and that stern 
 necessity had compelled him to act contrarily 
 to his own desires. Only now does she perceive 
 this. 
 
 But she reminds Wotan, that she shares his 
 divine nature, and is still a jjart of his being ; and 
 that, in dishonouring her, he brings shame on him- 
 self also. And she begs that, if she must leave 
 Walhall, and submit to the rule of a mortal man, 
 
 he who wins her may at lea'^t not be worthless, 
 8
 
 69 THE WALKURE. 
 
 and a coward. But Wotan answers, that he cannot 
 choose for her. 
 
 She then reminds him of the fair race of the 
 Walsungen, who owe their origin to the god him- 
 self. She knows that a nol)le hero will arise, from 
 the union of the Walsung twins. But Wotan 
 silences her, and will not hearken to her wishes : 
 he can but leave her to her fate, after causing her 
 to fall into a deep sleep. 
 
 Terrified at the idea of so dreadful a punishment, 
 his daughter clasps his knees, and entreats him at 
 least to protect her defenceless sleep by a fire, that 
 shall surround the mountain ; so that only a hero, 
 who knows no fear, may be able to pass through 
 the flames, and awaken her. A soft, rocking 
 movement begins on the violins and violoncellos, 
 and develops later into the ^fumfiet Motive 
 (41). 
 
 THE GOD'S FAREWELL TO HIS 
 DA UGHTER. 
 
 Briinnhilde's suppliant entreaties at length soften 
 Wotan so far, that he consents to her last request. 
 Then, raising her tenderly, and holding her to his 
 breast, he takes a fond farewell of his favourite
 
 ACT III. 70 
 
 daughter, his beloved, heroic child. He looks for 
 the last time into the eyes, which he had so often 
 seen shining through the storm, in the midst of 
 battle : for the last time he kisses the mouth, 
 which hereafter will belong to a man happier than 
 he, the god. Then leading her gently to a mossy 
 tocft, beneath a wide-spreading pine tree, he kisses 
 her eyelids, with the words, " Thus does the god 
 leave thee ; thus does he kiss away thy divinity." 
 Brunnhilde has fallen into a deep sleep in his 
 arms, and he lays her gently down on the rock. 
 After one more long look at the form and features, 
 which he will never see again, Wotan closes the 
 visor of her helmet, and covers her with her 
 shield. 
 
 Then, solemnly and resolutely, the god steps 
 into the middle of the scene, and stretches out 
 his spear towards the rocks, with an invoca- 
 tion to Loge, to surround the scene with fire. 
 The %\xt Motive (42) begins to flicker up in 
 the orchestra. 
 
 Wotan then strikes the rock, and a 
 The Fire. 
 
 flame springs forth. The god passes 
 
 the point of his spear all around the scene, and, 
 
 as it goes by every rock, ffameS arise from 
 
 each, and burn higher and higher. The whole
 
 71 THE WALh'URE. 
 
 scene is surrounded by tongues of fire, which 
 light up with a lurid glow the forms of the 
 god, and of the sleeping Walkiire. The wild, 
 chromatic Fire Motive (42) runs through 
 the stringed instruments in the orchestra. The 
 music increases in volume of sound, as the fire 
 increases into a conffagraftOU. In direct 
 contrast to this weird, restless fire-music, is heard 
 the sweet, soft, peaceful Motive of Slumber 
 (41), resembling, in its regular, recurrent move- 
 ment, the long-drawn breathings of some one 
 asleep. At Wotan's words, " He who fears the 
 point of my spear shall never come through the 
 fire," the Motive of Siegfried (39) mingles 
 in triumphant chords with the Slumber Motive 
 (41). Wotan then disappears in the fiery glow; 
 and the music, the gentle rhythm whereof seems 
 to lull the listener to sleep, gradually sinks as 
 the flames die down ; and then the sounds, too, 
 die away into silence.
 
 of 
 
 ^ie^frieb. 
 
 Courage, born of Innocence, outvies all Cunning ; 
 and, when inspired by the secret of Love, 
 imparted by Nature, proves itself equal to all 
 tasks. 
 
 73
 
 Sicafvicb. 
 
 The Overture. 
 
 The overture to "Siegfried" opens with the 
 Motive of (WtcbifCvfton (43) on the bassoons. 
 This motive is attached, as we shall see when 
 the curtain rises, to Mime's person. The deep, 
 ominous sound of this motive shows us, that 
 his meditation is for no good purpose. The 
 oliject of this meditation we learn, by the repeti- 
 tion of the Ring Motive (7). The Sword 
 Motive (25) also resounds. The Motive of 
 Alberich's Triumph (18) crowns these gloomy 
 harmonies. We also hear the characteristic 
 movement of the Dragon Motive (20), wind- 
 ing in and out, in the bass. 
 
 74
 
 75 SIEGFRIED. 
 
 ACT I. 
 
 A FOREST HOME. 
 
 The curtain rises to the rhythmic 
 Mime. 
 
 movement of the Nibelungen Motive 
 
 (i6), on the stringed instruments; and the dwarf 
 (^iirte is discovered, hammering impatiently at 
 the ^VJjOfb, which he has just made. The 
 interior of his home, which is in the depths of 
 the primeval forest, resembles a huge cavity in a 
 rock, with two openings into the forest, through 
 which the daylight enters. Pieces of rock in the 
 background form a forge, near which are the bel- 
 lows, while various instruments are scattered around. 
 
 Mime, after hammering away for a 
 The Sword. 
 
 few minutes, leaves off, with a gesture 
 
 of despair, and utters a bitter complaint to the 
 
 effect, that all his work is in vain ; for the best 
 
 Sword he can make is a mere plaything in the 
 
 hands of Siegfried, for whom it is intended. But 
 
 there is a Sword, that the youth, with all his 
 
 strength, would not be able to break. This 
 
 weapon must be made from the broken pieces
 
 ACT I. 76 
 
 of his father Siegmund's sword, which (as we shall 
 
 hear later) were given to Mime by Sieglinde for 
 
 her son. With this weapon, the dwarf reflects, 
 
 Siegfried would be able to kill Fafner, the dragon, 
 
 and thus rescue the Treasure, which the creature 
 
 is guarding in its den. Then Mime could take 
 
 possession of the Ring. 
 
 But how to forge this Sword ? With all his art 
 
 Mime cannot succeed in making a new weapon, 
 
 out of the broken pieces. But a sword Siegfried 
 
 must have ; so the dwarf taps and hammers away, 
 
 though he knows that the weapon he is making 
 
 will immediately break m Siegfried's hands. 
 
 Now a quick, light-hearted Motive 
 Siegfried. . . , , . n^- > 
 
 from the viohns, breaks m on Mime s 
 
 meditation, — the Motive of the ^^out^fuf 
 Siegfri^^ (44). And, as it resounds, the youth 
 himself, dressed in skins, with a silver horn at his 
 side, comes rushing out of the woods into the 
 hut. He is leading a 6ear, which he laughingly 
 sets on to the terrified Mime, who runs and hides 
 behind the hearth. 
 
 When Siegfried hears that a sword is ready for 
 him, he lets the bear go out into the forest again, 
 and Mime creeps tremblingly out of his hiding- 
 place. The dwarfs miserable, little form presents
 
 77 SIEGFRIED. 
 
 a ludicrous contrast to Siegfried's stalwart, robust, 
 young figure ; and not less striking is the contrast 
 of their characters. While Mime is cowardly in 
 the extreme, and, at the same time, sly and 
 malicious, Siegfried possesses all the fearless light- 
 heartedness of youth, and is frank and honest, 
 with the naive innocence of one who has passed 
 all his life in the woods, surrounded by the beauty 
 of Nature, and has seen nothing of the world and 
 of men. He is high-spirited, endowed with irre- 
 pressible buoyancy and gaiety of spirit, and longs 
 to get out into the world, in search of adventure. 
 Now he relates to Mime, that he has been seeking 
 in the forest for a more congenial companion 
 than the wretched little dwarf, at whose moral 
 and physical weakness the strong, healthy youth 
 evinces deep disgust, and in teasing whom he 
 takes a mischievous delight. At the sound of his 
 horn,^so Siegfried tells Mime, — the bear, which 
 he had brought home with him, came growUng 
 out of the woods. 
 
 SIE G FRIED 'S A NGER, 
 
 Mime now gives him the sword, which he has 
 been making. Without the slightest effort Sieg-
 
 ACT L 78 
 
 fried strikes the anvil with it, and the sword flies 
 into pieces. The remainder, which he holds in 
 his hand, Siegfried throws away, angrily. He has 
 lost all patience with Mime, who chatters to him 
 of giants, of battles, and of mighty deeds, not 
 forgetting his own (Mime's) ability ; and yet he 
 cannot even forge a sword that shall not break. 
 Were he not such a miserable little wretch, says 
 Siegfried, he would finish Mime off with his own 
 weapon, and be rid of all this vexation. 
 
 At this outbreak. Mime, who has carefully kept 
 out of his way, retorts that Siegfried is always 
 ungrateful, and always forgets what the dwarf has 
 done for him. He then offers Siegfried some 
 food ; but the youth knocks it out of his hand, 
 and impatiently turns his back on him. Mime, 
 in an injured tone, complains that this is the 
 reward for all the love and care he has bestowed 
 on Siegfried. To the whining Motive of ^^im^ti 
 Compfaint (45) he goes on to tell Siegfried, 
 that he warmed and fed him, as an infant, that 
 he gave him toys and a sounding-horn, and 
 taught him wisdom. Even now he sits at home 
 slaving for Siegfried, while the latter roams in the 
 forest to his heart's content. But all the thanks 
 he gets are, that Siegfried hates and torments him.
 
 79 SI RG FRIED. 
 
 SIEGFRIED'S PARENTS. 
 
 The young man, who has turned round, and 
 watched Mime, during this effusion, tells him 
 that there is one thing the dwarf has not taught 
 him ; and that is, how to like him : for he hates 
 the sight of the dwarf, and all birds and beasts of 
 the forest are dearer to him than is Mime. How 
 comes it, then, that he still returns to Mime's 
 dwelling ? Mime answers, that it is filial affection, 
 which brings him back. 
 
 Taking no notice of this remark, Siegfried goes 
 on to say, that he had heard the birds sing happily 
 in the spring, and had seen them pair, and bring 
 up their young ones. The foxes, too, he had seen 
 with their whelps. Now he wants to know, where 
 Mime's wife is, that he may call her "mother." 
 These words of Siegfried's are accompanied, on 
 the violoncellos and violins, by a sweet, soft 
 melody, full of longing, which e.\[)resses most 
 
 pathetically ^tegfrte^'s feotje of (Itafure, and 
 
 his yearnings to experience the affection, which 
 he sees manifested by the animals towards their 
 young. 
 
 But Mime pettishly tells him not to be so
 
 ACT I. 8.0 
 
 stupid ; that he is neither bird nor fox. Then 
 Siegfried says, " Didst thou, perchance, make me 
 without a mother ? " 
 
 In considerable confusion Mime answers, that 
 he is both father and mother to him. But Siegfried 
 cries out, that he lies : for young things resemble 
 their parents. He has seen his own image in a 
 brook, and knows that he is no more like Mime, 
 than a shining fish is like a frog. 
 
 But now he knows why it is, that he returns 
 to Mime: it is, in order that he may learn who 
 his father and mother were. For some time Mime 
 evades giving a direct answer to his questions, till 
 Siegfried seizes him by the throat, and only lets 
 him go, when the dwarf makes a sign, that he will 
 tell him what he wants to know. 
 
 Accompanied in the orchestra by a mournful 
 echo of the Walsung Motives (ii, 27, 28, and 
 30) of the " Walkiire," Mime relates the touching 
 story of Sieglinde's sufferings: of how he found 
 her in the forest, and brought her home to his 
 hut: of how she died at Siegfried's birth, giving 
 the child into Mime's care. The latter then takes 
 this opportunity of recommencing his old Song, 
 " As a peevish child, I brought thee up." 
 
 Siegfried interrupts him impatiently, in order to
 
 8i SIEGFRIED. 
 
 ask what his mother's name was ; why his own 
 name is Siegfried ; and who his father was. Mime 
 recollects that the mother was called Sieglinde ; 
 that she had told Mime to give the boy the 
 name of Siegfried, and that he would grow into 
 a strong and beautiful hero. What his father's 
 name was, the dwarf does not know, only that 
 he was slain in combat. 
 
 SIEGFRIED'S SOLE INHERITANCE. 
 
 On Siegfried's demanding a proof of the ver- 
 acity of this story, Mime produces the pieces of 
 ^iegmun^'S ^njor^, which Sieglinde had given 
 into his keeping. Siegfried orders him to make 
 a strong weapon with these pieces, that with it he 
 may go off, out into the world, far away from 
 Mime, and be as free as the birds of the air, or 
 the fish of the sea. A joyous melody accompanies 
 his words : the Motive of ^iegfne^'fi feotje of 
 StCC^Otn (4(^)) which here denotes his joy at the 
 idea of leaving Mime, and at the knowledge that 
 Mime is not his father, and the dwarf's abode not 
 his home. 
 
 With these words, Siegfried rushes out into the 
 forest. In vain Mime calls after him. The dwarf
 
 ACT I, 82 
 
 is again left alone, bemoaning his inability to forge 
 ^ai^XXXK^ (the Sword) anew, as he knows that it 
 is the only weapon with which Siegfried can kill 
 Fafner, and thereby enable Mime to take posses- 
 sion of the Ring. 
 
 A GOD'S WANDERINGS, 
 
 In the midst of his anxious medita- 
 Wotan. 
 
 tions the dwarf is interrupted by the 
 
 entrance of a stranger, who bears, in this part of 
 the drama, the name of Wanderer, but whom 
 we recognise as O37otan. His appearance is 
 accompanied, on the wind instruments, by the 
 Motive of the ^Mi^txtX (47), which, in its 
 solemn, and somewhat weird chords, suggests his 
 disguised character, and emphasises the quiet self- 
 possession and dignity, with which he confronts 
 Mime's inhospitable reception. For the dwarf 
 tells him to be gone, and not to add to his 
 (Mime's) misfortunes by coming to spy on his 
 loneliness. The Wanderer offers to give him 
 counsel and advice ; but Mime will not have 
 them, and considers himself wise enough already. 
 He only wishes to be left alone. 
 
 But the Wanderer seats himself near the hearth,
 
 83 SIEGFRIED. 
 
 notwithstanding Mime's protestations, and offers 
 his head as a forfeit, if he cannot answer to Mime's 
 satisfaction any three questions, which the latter 
 shall put to him. To get rid of his unwelcome 
 visitor, Mime consents to this ; and asks, firstly, 
 " What race inhabits the depths of the earth ? '' 
 He receives the answer, " The Nibelungen ; and 
 Alberich was once their master." The second 
 question he puts is, " What races dwell on the 
 earth's surface?"; and gets for reply, "The Giants." 
 Wanderer also relates to him the story, of how 
 these Giants came into possession of the Gold and 
 the Ring, and how Fafner now guards this in 
 his den. 
 
 At the third question of "What race lives on 
 the cloudy heights?" Wanderer rises, and, to the 
 majestic Walhall Theme (9), answers, " The 
 Gods; and Wotan is their head." As his spear 
 touches the ground, a slight clap of thunder is 
 heard, which nearly frightens Mime out of his 
 wits. 
 
 MIME'S WISDOM. 
 
 Wanderer has thus freed his head from the forfeit; 
 and Mime hopes he will go. But now it is the
 
 ACT I. 84 
 
 dwarfs turn to answer, under the same conditions, 
 three questions put to him by Wotan. Anxiously 
 the dwarf awaits the first, which is, " To what race 
 did Wotan show least favour, and which was yet 
 the dearest to him ? " Mime answers readily, 
 " The Walsung race : Siegmund and Sieglinde 
 owed their origin to Walse ; and from their union 
 came Siegfried, the strongest scion of the race." 
 The second question is, " With what sword shall 
 Siegfried fight Fafner?" To this Mime replies 
 joyfully, " Nothung " ; and he proudly parades his 
 knowledge on this point. Thirdly, Wotan asks, 
 " Who will make the strong sword anew, out of 
 the pieces ? " At these words Mime jumps up in 
 terror. He cannot answer this question, for it is 
 the very thing he himself wants to know. Wanderer 
 now rises, and tells him, that, instead of about 
 that which would have been of some use to him, 
 Mime has sought to acquire knowledge, that is 
 utterly worthless. Thus his head has fallen a 
 forfeit to the Wanderer ; but the latter adds, that 
 he will leave it to be chopped off by one who has 
 no fear. Such an one, the god continues, shall 
 also forge Nothung anew, and shall be Fafner's 
 destroyer. Having thus spoken, Wotan goes out 
 into the wood. 
 9
 
 85 SIEGFRIED. 
 
 A LESSON IN FEAR. 
 
 Mime, left alone, stares in silence through the 
 opening, by which Wanderer disappeared. Sud- 
 denly, a bright light flickers over the scene, and 
 Mime, trembling violently, cries out that it is 
 Pafner, coming to devour him ; and then falls in 
 a heap, beneath the anvil. 
 
 ^ieafrieb'fi voice is now heard, 
 Siegfried. . 
 
 calling to know, if the sword is ready. 
 
 Then he enters, and stops short in astonishment 
 
 at not seeing Mime. At his call, however, a 
 
 feeble voice from behind the anvil answers ; and 
 
 hearing that Siegfried is alone, Mime creeps out. 
 
 Siegfried asks, if he has been making the sword 
 
 for him behind there. " The Sword, the Sword," 
 
 sighs Mime, " how shall I make it ? " Then he 
 
 remembers the Wanderer's parting words, ifiat only 
 
 one who knows no fear will be able to perform 
 
 that feat ; though, at the same time, he will deprive 
 
 Mime of his wise head. In order to avert this 
 
 fate, he must try and teach Siegfried what fear is. 
 
 During Mime's reflections, Siegfried becomes 
 
 impatient, and seizes hold of him : but Mime 
 
 assures him, that he was sunk in meditation for 
 
 Siegfried's good. " Thou hadst sunk even under
 
 ACT I. 86 
 
 the seat," answers Siegfried, with a laugh. Now 
 the cunning dwarf tells him, that Sieglinde had 
 made him promise never to let her son out into 
 the world, before he knew what fear was. " Is 
 it an art ? " asks the youth. 
 
 Then comes a thrilling and graphic description, 
 from Mime, of what fear is ; and it seems to 
 Siegfried a wonderful and most desirable sensa- 
 tion, which he longs to experience : but how can 
 he learn it ? 
 
 The trembling movement of the stringed instru- 
 ments, accompanying Mime's description, is weird 
 and uncanny. We hear at the same time the 
 Fire Music (42) and Slumber Motip'e (41), 
 which have here a double signification : viz., that 
 Siegfried, the hero who knows no fear, will make 
 his way through the fire and awaken Briinnhilde, 
 and also, that his first experience of fear, will be 
 at the sight of the sleeping Walkiire. 
 
 SIEGFRIED FORGES HIS O WN SWORD. 
 
 Mime now tells Siegfried of Fafner, and that 
 he will learn from the dragon what fear is. But 
 Siegfried has, as yet, no sword : and now, seeing 
 that Mime will never make one, the young man
 
 87 SIEGFRIED. 
 
 resolves to do so himself. He sets about it at once, 
 heedless of Mime's remark, that, if he had dili- 
 gently applied himself to learning forging, it would 
 now be useful to him. Siegfried tells the dwarf 
 not to interfere, or he, too, will fall into the fire. 
 
 After various offers to instruct him, all of which 
 are rejected. Mime watches him in silence, and 
 with astonishment at the strength he exhibits 
 while at work. 
 
 But the dwarf is in a dreadful 
 Nothung. 
 
 dilemma : for, if Siegfried kills Fafner, 
 
 Mime's own head will also fall by the same sword. 
 
 On the other hand, if Siegfried does not kill Fafner, 
 
 Mime cannot get the Ring. He is aroused from 
 
 this unpleasant reverie, by Siegfried's asking him 
 
 the name of the sword he is making. On being 
 
 told that its name is " (Uof ^Ung," the young 
 
 man commences a sort of fof^ing fiOtlSt ^^^^^ 
 
 which he accompanies his work, and the refrain 
 
 of which is "Nothung, the Sword." 
 
 MIME'S ARTIFICES. 
 
 Mime, meanwhile, continues his reflections, and 
 suddenly hits on a brilliant idea. He will prepare 
 a beverage for Siegfried, which he will offer to 
 the young man after his fight with the dragon,
 
 ACT I. 88 
 
 and which will cause him to fall into a deep 
 sleep. Then Mime can kill him with his own 
 sword, and take possession of the Ring. 
 
 No sooner thought, than done. The dwarf 
 commences at once to prepare the fatal draught. 
 Siegfried, perceiving his occupation, calls out, 
 mockingly, " Mime, the artist, now learns cooking : 
 but what he cooks I will not taste." The young 
 man then continues his work, blowing the 
 bellows, and melting down the steel with great 
 ardour. Mime also finds great pleasure in his own 
 occupation. He is delighted at his own idea, and 
 exults already in the thought of his triumph ; of the 
 power which he will acquire by means of the Ring ; 
 and of how the whole world will have to serve him 
 
 As Siegfried's work progresses, the falls of the 
 hammer on the anvil are accompanied, on cellos 
 and violins, by a characteristic and lusty §otging 
 Motive (48). At length the ^roovb is com- 
 pleted; and Siegfried, telling Mime to see how 
 his weapon cuts, holds it high above his head, 
 and, with one stroke, cuts in two the anvil on 
 which he has been working. He then flourishes 
 the sword triumphantly in the air, while Mime 
 falls, in disgust and astonishment, on to the floor. 
 The curtain descends.
 
 89 SIEGFRIED. 
 
 ACT 11. 
 
 The Prelude. 
 
 This Act opens with a short prelude, in which 
 the sinister Motive of Alberich's Revenge 
 (21), played by the clarionets, predominates. 
 The bassoons answer with the Ring Motive (7), 
 and a second, heavy, winding Motive of the 
 ©Vd^OU (49) resounds in the first bars from 
 the double-basses. We are thus prepared for 
 the dark scene on which the curtain rises. 
 
 A NOCTURNAL WATCH. 
 
 It is black night in the depths of the forest. 
 In the background we are just able to distinguish 
 a huge cavity in the rock, in which the darkness 
 is, if possible, thicker and more impenetrable 
 than elsewhere.
 
 ACT IT. 90 
 
 As the Motive of the Curse {22) 
 Alberich. . , , j 1 
 
 comes from the trombones, a dark 
 
 figure steals on to the scene. It is the Nibelung 
 
 (^ffienc^, come to keep his unholy watch, in 
 
 the dead of night, by Fafner's den. 
 
 As the Ride Motive (37) resounds, on the 
 wind instruments, a stormy wind suddenly 
 comes through the forest, and a light shines 
 over the scene. 
 
 " Fearful day, art thou already breaking," cries 
 Alberifh, "or is it the slayer of the dragon who 
 approaches ? " 
 
 The light disappears, and out of 
 
 Wotan. ^ , ^ 1 
 
 the darkness of the forest comes the 
 
 T3?anberer. Catching sight of the Nibelung, 
 
 Wanderer asks who it is that is watching at the 
 
 entrance to Fafner's hole. 
 
 A sudden break in the clouds lets the light 
 
 of the moon fall on Wotan's figure. Alberich 
 
 recognises him, and is seized with terror and 
 
 anger. He is sure Wotan has come for the 
 
 same purpose as himself ; namely, to await Fafner's 
 
 death, and to take possession of the Ring. But 
 
 he knows that the god cannot himself take away 
 
 from the dragon that Ring, which he took by 
 
 force from Alberich, and with which he paid for
 
 91 SIEGFRIED. 
 
 Walhall's glory. Of these facts Alberich now 
 reminds hini, in demoniacal joy at the thought 
 of the anxiety which Wotan feels about the 
 fate of the Ring, and the fear he has that 
 Alberich may get it into his own hands again. 
 
 But Wotan, with the quiet, unmoved dignity, 
 which characterises him as Wanderer, answers, 
 that he has only come to look on, and not to 
 act. He who wins the Ring will be its master. 
 Alberich must look for rivalry on Mime's part; 
 for the latter is bringing danger in the person 
 of Siegfried, who, as yet, knows nothing of god 
 or Ring, but whom Mime is using for his own 
 ends. But Wanderer adds, that, perhaps, if 
 Fafner is warned of the approaching danger, he 
 will give up the Ring, and escape the curse. 
 
 Wanderer calls to the dragon, 
 
 Fafner. , . ,, . , • i i 
 
 to awake. Alberich, astonished, can 
 
 hardly believe his ears : but, on hearing ;§afnet'6 
 
 voice, he calls out to the dragon, that a strong 
 
 hero is coming to attack him. From the depths 
 
 of his den, in a deep and awful voice, the 
 
 creature answers, " I hunger for him." Alberich 
 
 then tells him, that it is only the Ring, which 
 
 the hero wants: if Fafner will let the Nil)elung 
 
 have it, the latter will ward off the combat, and
 
 ACT II. 92 
 
 Fafner will live long in peace. For answer, 
 Fafner, with a yawn, growls out, " I lie in 
 possession : let me sleep." 
 
 Wanderer laughs at the Nibelung's discom- 
 fiture : but adds, in solemn tones, that every- 
 thing works out its appointed destiny, and that 
 no one can alter the course of fate. His words 
 are accompanied by the Motive of Destiny (23). 
 
 With this parting warning, Wotan disappears 
 into the woods : lightning and a stormy wind 
 follow in his wake. 
 
 DA YBREAK. 
 
 Alberich watches Wanderer as he departs ; and 
 the Nibelung utters angry threats. Now it is 
 growing daylight, and Alberich hides in a cleft 
 of the rock. 
 
 Mime. Soon the dwarf, QC^time, and ^teg:: 
 Siegfried. ^x\^ appear on the scene. The former 
 looks anxiously around the spot, which is already 
 lit up by the first rays of the rising sun. Siegfried 
 asks, if it is here that he will learn what fear is ; 
 adding that, if he does not, he will continue his 
 wanderings alone : for he wants to be rid of 
 Tvlime. The latter assures him, that if he does
 
 93 SIEGFRIED. 
 
 not learn it here, he will hardly do so anywhere 
 else. The dwarf then points out the dark hole, 
 where Fafner lies hidden, and describes to the 
 young man his awe-inspiring size and horrible 
 jaws, as well as the poisonous vapours which the 
 creature breathes out; and the snaky tail, which 
 would crush Siegfried's limbs like glass. But 
 the young man is not disheartened, or even 
 astonished, at all this ; and asks, if the creature 
 has a heart. Mime answers in the afifirmative ; 
 and, in the orchestra, we seem to hear the beating 
 of the hard, terrible heart. 
 
 "Then," says Siegfried, " I will thrust Nothung 
 into his heart : is that, perchance, Fear ? " " Only 
 wait," answers Mime, " till you see and hear him ; 
 and when all swims before your e)'es, when the 
 ground seems to sink beneath \our feet, and your 
 heart beats fearfully, then think of how Mime 
 loves you." 
 
 " You shall not love me," cries the youth : 
 "get out of my sight!" 
 
 Mime intends to go, and auail the issue of the 
 combat at the spring near by : but Siegfried 
 laughingly threatens to let the creature go thither, 
 to quench his thirst, if Mimj is there. Then, 
 with an impatient gesture, he motions to the
 
 ACT II. 94 
 
 dwarf to be gone, which the latter proceeds to 
 do, uttering at the same time the loving wish, 
 that Siegfried and Fafner may kill each other. 
 Left alone, Siegfried sits down under a lime tree, 
 rejoicing to be at length freed from Mime's 
 hateful presence. 
 
 SIEGFRIED AND NATURE. 
 
 A sort of dreamy, tremulous movement resounds 
 from the stringed instruments, and resembles the 
 rustling of leaves in the breeze, and the various 
 intermingled 6OUnb0 of t^e forest. 
 
 Siegfried has sunk into a dreamy mood. He 
 thinks of his parents, and wonders what they 
 were like. Certainly, his father must have been 
 like himself: for, if Mime had a son, would he 
 not be just as ugly and grey, as small and 
 crooked, as the dwarf, and go limping along in 
 the same fashion ? The very thought of Mime 
 makes Siegfried angry. However, he leans back, 
 and looks up into the branches again for some 
 time, in silence. Only the birds' songs, and the 
 woodland sounds, are heard. Then the thought 
 of his mother comes into his mind. How did 
 she look ? Her eyes must have been like the
 
 95 SIEGFRIED. 
 
 gentle eyes of a hind, only much more beautiful. 
 And at his birth she had died ! Did all human 
 mothers die, because of their sons? That would 
 indeed be sad. He then wishes that he could 
 see her, — his mother, a human woman. This 
 pathetic longing of Siegfried's for a mother's love 
 is all the more touching, because it is a love of 
 which he can only guess the power from what 
 he has seen of it in nature ; from the love of birds 
 and animals for their young : but human affection 
 has, as yet, had no part in his young life. 
 
 SIEGFRIED AND THE DRAGON. 
 
 But now his attention is again attracted to the 
 
 Song of the Birds (played by the clarionets 
 
 and oboes). He resolves to try and imitate it ; 
 
 and then, perhaps, he will be able to understand it. 
 
 For an instrument he cuts off one of the reeds, 
 
 growing around the spot. But he cannot imitate 
 
 the song successfully ; and, after a few vain and 
 
 discordant attempts, he gives it up in despair. 
 
 But on his horn he can produce 
 Fafner. 
 
 something better. Putting it to his 
 
 lips, he blows a lively melody. At length, in 
 
 the dark cavity in the background, something
 
 ACT 71. 96 
 
 moves ; and Safner, iii the form of a tremen- 
 dous, lizard-shaped, snaky dragon, crawls out of 
 his den, and yawns aloud. 
 
 Siegfried turns, stares at him in astonishment, 
 and then laughs. His melody on the horn has 
 brought along a nice comrade for him now. 
 
 Fafner, perceiving Siegfried, asks, " Who is 
 there ? " 
 
 "Oh!" cries Siegfried, "art thou an animal 
 that can speak ? Here is one who does not 
 know what fear is : can he learn it from thee ? " 
 
 Fafner laughs. " I wanted to drink, and now 
 I can also eat," he replies ; and opens his jaws. 
 
 Siegfried springs lightly to one side, and, as 
 the creature raises its head to spit poison and 
 fire at him, he quickly thrusts his sword into 
 its heart. It gives one bound with the pain ; 
 and then sinks to the ground. In a faint voice, 
 Fafner asks who is the bright-eyed boy, that has 
 achieved such a feat. He also tells Siegfried, 
 how he was once a giant; and became master 
 of the Ring, on which lies a curse, and which 
 he has been guarding in his den, after having 
 assumed the form of a dragon, by means of the 
 Tarnhelm. 
 
 He warns Siegfried to beware of the curse.
 
 97 SIEGFRIED. 
 
 Treachery always surrounds the master of the 
 Ring. He bids the young man note his (Fafner's) 
 fate ; and the orchestra repeats the warning, in the 
 J/br/K£ of Alberich's Revenge (21). 
 
 THE POWER OF THE DRAGON'S 
 BLOOD. 
 
 Siegfried then tells Fafner his name; and the 
 latter repeats it with his last breath. Now Siegfried 
 draws his sword out of the enormous carcass. As 
 he does so, a drop of the ^ragon'6 6foo^, still 
 hot, falls on his finger. He put it to his mouth, 
 to cool the burning sensation. As he does this, 
 his attention is again attracted to the Song of 
 THE Birds; and suddenly he finds that he can 
 understand the meaning of their song. For one 
 of them sings to him, that the Nibelung's Treasure 
 now belongs to him ; and he will find it in the 
 dragon's den. The Tarnhelm alone would be 
 very useful to him : but the Ring would make him 
 master of the world. 
 
 On hearing this, Siegfried disappears into Fafner's 
 den. 
 
 Mime. As soon as he has gone, the two 
 Alberich. brothers, (^fficticO '^'^^l (^tmC, both
 
 ACT II. 98 
 
 come running towards the spot, from different 
 sides of the scene. As they encounter each other, 
 both break out into angry exclamations of hatred 
 and defiance. Each is naturally bent on getting 
 the Ring, which each considers as his own 
 property : — Alberich, because he stole the Gold, in 
 the first instance, and made the Ring ; and Mime, 
 because he has brought up Siegfried, in order that 
 the latter may get it for him. After they have 
 quarrelled angrily for some time. Mime proposes 
 a division of the Treasure. All he wishes for, is the 
 Tarnhelm : that is but fair, seeing that he made 
 it. Alberich may have the Ring and the Gold. 
 Alberich laughs scornfully at this proposal. " The 
 Tarnhelm indeed ! How sly thou art. I should 
 never sleep in safety from thy wiles." 
 
 "Then," cries Mime, in a rage, "thou shalt 
 have neither Ring nor Tarnhelm." 
 
 While they wrangle thus, the young 
 "^jl^gftie^ comes out of the cavern. 
 
 carrying the very objects, about which they have 
 been disputing. Alberich utters a curse. Mime 
 laughs derisively, and, after telling Alberich 
 to ask Siegfried for the Ring, slips off into 
 the wood. 
 
 But Alberich remembers Wotan's words, that he
 
 99 SIEGFRIED. 
 
 who wins the Ring shall be its master : and he, too, 
 
 disappears into the forest. 
 
 The Rin". Meanwhile, Siegfried has been ex- 
 
 The Tarn- amining the objects which he holds in 
 
 helm. i^jg hand : but he has not the slightest 
 
 idea, of what use they can be to him. The 
 
 ^atn^efm he hangs on his girdle, and the (Ring 
 
 he puts on his finger. 
 
 He again listens to the Bird's song : 
 The Bird. ... 
 
 and this time it warns him not to trust 
 
 (WXttltC. The latter now approaches, muttering to 
 
 himself, that he must at present be very cunning. 
 
 Then, greeting Siegfried, he asks him if he has 
 
 learnt what fear is. Siegfried answers that he 
 
 has not ; and he tells Mime that he hated the 
 
 dwarf, who set him on to kill Fafner, far more 
 
 than he did the dragon, for whom he was 
 
 almost sorry. 
 
 MIME'S EVIL DESIGNS 
 
 Now begins a conversation, in which we must 
 suppose that Mime utters words other than those 
 we hear, — words which convey to us his real 
 and hidden meaning. This hidden meaning is 
 also equally obvious to Siegfried, after the bird's
 
 ACT U. loo 
 
 warning, and also because the dragon's blood has 
 touched his lips. 
 
 What we understand Mime to mean, then, is, 
 that now that Siegfried has accomplished the deed, 
 for which Mime brought him up, the dwarf intends 
 to give him a potion, which will close his eyes in 
 eternal sleep ; and Mime will then take possession 
 of the Ring. The dwarf goes on to say, that he 
 always hated the young hero and his race ; and he 
 tells Siegfried that he prepared the fatal beverage 
 while the youth was making his sword. With that 
 very sword does Mime intend to cut off Siegfried's 
 head, while he sleeps. He is very angry at Sieg- 
 fried's interpretation of his words, and tries vainly 
 to hide his real meaning from him. As he then 
 offers the young man the concoction, which he 
 has so lovingly prepared for him, a blow from 
 Siegfried's sword stretches him on the ground, dead. 
 From his retreat behind the rocks (^ffiettC^ ^^s 
 observed the scene, and now utters a demoniacal 
 laugh of joy at his brother's fate. 
 
 THE LANGUAGE OF THE BIRDS. 
 
 Siegfried drags Mime's corpse into the cavern ; 
 and then blocks up the entrance completely with 
 Fafner's body. 
 
 lO
 
 loi SIEGFRIED. 
 
 Now it is midday, and he is tired with the 
 morning's work, and hot from the sun's burning 
 rays : so he rests awhile in the shade of a tree. 
 The rustling of the leaves is heard, as before ; 
 and Siegfried watches the birds as they hop from 
 branch to branch, and fly after each other. 
 
 But he is so lonely. He has neither brother 
 nor sister. His mother is dead, and his father 
 was slain in combat. Now he longs for a com- 
 panion, for someone to love, and he asks the 
 birds to help him. 
 
 The answer he receives is, " The loveliest of 
 women is sleeping on a high rock, surrounded 
 by fire. If thou canst get through the flames 
 and awaken her, Brunnhilde shall be thine." 
 
 Siegfried springs from his seat. A desperate 
 longing, which he hardly understands, has taken 
 possession of him ; and he feels that he must get 
 away out of the woods, on to the burning rock. 
 
 But the (J0ir^ warns him, that only he who 
 knows no fear can pass through the flames. 
 Siegfried exclaims that he does not know what 
 fear is, but he hopes to learn it from Briinnhilde. 
 So the Bird flies off to show him the way, and 
 Siegfried follows after it. 
 
 The curtain falls.
 
 ACT III. lo: 
 
 ^ 
 
 ACT III. 
 
 The Prelude, 
 
 The grand scene, with which this Act opens, is 
 preceded by stormy music, in which the Ride 
 Motive (37) predominates. This Motive then 
 subsjdes into the tragic Motives of Destiny 
 (23), and of the Gods' End (23a), together with 
 the Motives of the Wanderer (47) and of 
 Wotan's Spear (10). 
 
 A GOD'S INVOCATION' TO NATURE. 
 The curtain rises on a scene, over 
 
 Wanderer. 
 
 ^ , ' which rests the darkness of night. In 
 
 Erda. ^ 
 
 a wild and lonely spot, at the foot of 
 steep rocft0, stands TJJattbetet* ; and amid storm, 
 thunder, and lightning, he chants an invocation 
 to the Goddess of the Earth, <^t*^a. Out of 
 the subterranean depths, where she has long 
 slept, the god calls her up on to the earth's
 
 103 SIEGFRIED. 
 
 surface. It is a powerful and mysterious invo- 
 cation, in which predominates the Motive of 
 Destiny (23), and which Erda is not able to 
 withstand. The weird light, that surrounds her 
 form, breaks the darkness of the night as she 
 comes up through the ground. The Motive of 
 Darkness (15) greets her appearance. 
 
 There is an unearthly grandeur and sublimity 
 in this last scene between Wotan and Erda. For 
 the last time the god seeks to gain knowledge 
 and wisdom from the eternal secrets of Nature. 
 But Erda has no more to teach him. He has 
 received from her all that she can give ; and her 
 wisdom disappears before his will, since his will 
 is in harmony with the course of destiny. 
 
 Wotan knows that the Gods' End is near at 
 hand : but now he wishes for it. The thought 
 of it no longer inspires him with terror, as it did 
 when Erda first announced it to him. Joyfully 
 the god yields up his dominion over the world 
 to those who arc " eternally young " {i.e. to 
 Siegfried and Brimnhilde). Here a majestic 
 movement, whose notes ascend the scale with 
 quiet, but impressive, grandeur, forms the Motive 
 
 of OJ?ofan'0 O^equeet (5°)- 
 
 Wotan knows, too, that though Siegfried is in
 
 ACT III. 104 
 
 possession of the fatal Ring, the curse, with which 
 it is laden, will lose much of its power in the 
 liands of the fearless, noble hero, who rejoices in 
 love and life, and is free from all envy and 
 hatred. 
 
 And Wotan further tells Erda, that Briinnhilde, 
 the daughter who has inherited her wisdom, will, 
 after her awakening from the sleep in which she 
 now Ues, redeem the world from Alberich's 
 
 curse. 
 
 The god then sends Erda down again, to sink 
 into eternal sleep ; and once more darkness reigns 
 over everything. 
 
 WOTAN' S MEETING WITH THE HERO 
 OF HIS DESIRE. 
 
 Gradually the moonlight brightens 
 
 legtrie . ^^^^ gcene, and a figure arrives at the 
 
 foot of the rocks, whom we recognise as ^teg? 
 
 frieb. The bird has disappeared, and he must 
 
 find the rest of the way by himself. 
 
 As he is about to ascend the rocks, however, the 
 way is suddenly barred by the Wanderer, who 
 steps forward to meet Siegfried, and to ask him, 
 whither he is bound. Siegfried replies that he is
 
 ro5 SIEGFRTED. 
 
 seeking a rock surrounded by fire, and at the top 
 of which sleeps a woman, whom he will awaken. 
 
 Then, in answer to Wotan's questions, Siegfried 
 tells him the story of his life, as we already know 
 it. The god is well pleased with this valiant young 
 hero of the Walsung race. But an amused laugh, 
 on his part, at the naive recital of the youth, 
 annoys Siegfried ; and he bids Wotan be quiet, 
 if he cannot show him the road. He even 
 threatens to treat the Wanderer as he treated 
 Mime, if he bars the way much longer. Siegfried 
 does not know what he owes to the god, and is 
 wholly unconscious of the love, which the latter 
 bears to him. But his impatience to be gone, at 
 length arousis Wotan's anger, and he forbids the 
 young man to pursue his way. Siegfried indig- 
 nantly asks, what right he has to do so. 
 
 " Fear the guardian of the rock," answers Wotan. 
 
 " My power holds the maid in sleep ; he who 
 
 awakens and wins her will make me powerless 
 
 for ever." 
 
 By the god's command the fire 
 The Spear. 
 
 commences to burn around the rocks. 
 
 At the sight of the ffatneS, Siegfried again 
 
 attempts to continue his way : but Wotan opposes 
 
 him with his gpeflt, saying, ''This spear once
 
 ACT HI. 1 06 
 
 severed the sword which thou wieldest ; and once 
 more shall it break on the divine spear." 
 
 " My father's enemy," cries Siegfried ; and, 
 drawing his 0ttjOtb, he aims a blow at the 
 extended spear, and cuts it in two. A fearful 
 clap of thunder accompanies the breaking of 
 the spear. 
 
 With the words, " Go thy way ; I cannot hinder 
 thee," Wotan disappears, accompanied by the 
 Motive of the Gods' End (23a). 
 
 The way is now open for Siegfried : impetuously 
 he dashes forward into the fire, through which he 
 must pass to awaken his bride. His horn sounds 
 merrily through the flames as he climbs the rock. 
 Smoke and vapour then fill the air, and hide him, 
 and the whole scene, from view. 
 
 THE DAWN OF LOVE. 
 
 Gradually the flames die down ; and the smoke 
 vanishes into thin air. Presently grows visible the 
 scene on the mountain-top, which we saw in the 
 last Act of the " Walkiire." 
 
 All is bathed in sunshine. Perfect 
 Brlinnhilde. .,, . «»> ■ o'dv • 1 
 
 stillness reigns. Q^tfUnn^tX^e is sleep- 
 
 in^' under the pine tree, just as Wotan had left
 
 I07 SIBIGFRIED. 
 
 her. From the orchestra resound the soft, sweet 
 Love Motive (14), and the peaceful Slumber 
 Motive (41). 
 
 Suddenly the young hero appears at 
 Siegfried. 
 
 the top of the mountain. The Rhine- 
 gold Motive (6) greets his appearance. He 
 looks around him in astonishment ; and spies the 
 horse, (^fCinc, asleep in the wood. He then 
 catches sight of Briinnhilde's armour, glittering in 
 the sun. Going up to her, he lifts the shield, and 
 exclaims, " Ah ! a man in armour." He then 
 loosens the helmet, and removes it gently from hei- 
 head, but starts back in bewilderment as the long 
 locks of her hair are disclosed to view. 
 
 After gazing at her for some time, he stoops, 
 and listens, to hear if she breathes ; and, finding 
 that she does, he endeavours to remove her 
 armour : but at length has to cut it with his 
 sword. As he lifts it off her form, he sees with 
 amazement her long, white garment, and exclaims, 
 " That is not a man." 
 
 Then, suddenly, he is seized with ^tM and 
 trembling, and calling out, — " Mother, mother " — , 
 he sinks dowai on to his knees, and, resting his 
 forehead on Briinnhilde's bosom, remains motion- 
 less for some minutes. vXftcr a while he raises his
 
 ACT III. 1 08 
 
 head with a sigh. But he cannot understand this 
 terrible feeling, that has come over him, which 
 makes his heart burn and his head swim, so that 
 he can hardly stand. It must be fear ! And he 
 has learnt it at the sight of a sleeping woman 
 
 BRUNNHILDE'S AWAKENING. 
 
 But the delicate Motive of Love (14) seems 
 to soothe Siegfried's excitement ; and he begins to 
 wonder how he shall awaken the sleeping maid. 
 She does not hear his call : but her half-opened 
 lips tremble as the warm breath passes through 
 them ; and, with a sudden resolution to wake her 
 thus, even if he dies for it, Siegfried presses his lips 
 to hers, in a long, passionate kiss. 
 
 The Motive of Renunciation (8) recurs here, 
 like a dark prophecy: but it dies away into the 
 highest treble ; and long, sustained chords on the 
 harps and violins, which thrill the heart of the 
 listener, form the Motive of Q$riinn3tfbe'0 
 (^njaftemng (sO- For suddenly she opens her 
 eyes. Siegfried rises to his feet, and watches her 
 in silence as she slowly raises herself from her 
 couch, and gazes at the scene around her; at 
 first in apparent bewilderment, and then with
 
 I09 SI EG FF I ED. 
 
 growing ecstasy. The vibrating, brilliant chords 
 of her Motive of Awakening (51) accompany 
 also her silent greeting of the beautiful scene, 
 which she sees around her. Then she raises her 
 arms, with a cry of, — " Hail to thee, sun ; hail to 
 thee, light ; hail to thee, shining day ! ' Now, 
 turning at length to Siegfried, she asks, — ''Who 
 is the hero that awoke me?" Siegfried tells her 
 his name, and she breaks out anew in a jubilant 
 song of greeting to the gods, to the world, and to 
 Siegfried. The sweet Motive of their feotje 
 (^te^fing (52) is re-echoed joyously by both. 
 
 Then Briinnhilde tells him that he it was whom 
 she loved before he was born with a love which 
 she could not name, which she only felt, but for 
 which she had fought and set at defiance the god, 
 who, nevertheless, had created this love in her 
 heart. 
 
 But Siegfried cannot understand all this. He 
 only feels the burning desire of the present 
 moment ; the passionate, human love, with which 
 her beauty, and the sound of her voice, have 
 inspired him. She, however, gently tries to dis- 
 tract his attention from herself, by pointing out 
 to him her armour, and he-r horse, which is now 
 also awake.
 
 ACT HI. no 
 
 BR UNNHIL DE'S BE WILDER ME NT. 
 
 But, as she suddenly realises that she no longer 
 wears this armour, and that she is perfectly de- 
 fenceless, her joy changes to feelings of sorrow 
 and fear. In vain Siegfried tells her that he 
 came through burning fire to her, and that no 
 armour protected him from the flames ; only the 
 hot glow has left a burning passion in his breast. 
 
 As he tries to seize her, she springs up in terror ; 
 and, escaping from him, runs to the other side of 
 the scene. 
 
 A virgin she had left \Valhall. No god had 
 ever approached her. Heroes had humbled them- 
 selves before her. And now, he who has awakened 
 her has taken away her weapons, and brought 
 shame and dishonour to her. She is Briinnhilde 
 no longer ! 
 
 Siegfried's entreaties to her to awake, and be 
 his Avife, only increase her anguish. All her divine 
 wisdom seems to have deserted her, and darkness 
 and bewilderment reign in its stead. In despair, 
 she hides her face in her hands. 
 
 Siegfried gently removes them, and bids her see 
 how brightly the day shines. "The day of my
 
 Ill SIEGFRIED. 
 
 distress," — she cries, " Oh Siegfried, Siegfried, see 
 my anguish. Immortal I was, and am ; but im- 
 mortal for thy salvation." These words of hers 
 are accompanied by the soft and pure Motive of 
 
 3^eaf feotje (53)- 
 
 * * * 
 
 The first feelings of love in Briinnhilde's heart 
 owed their origin, not to passion, but to com- 
 passion ; to the sorrow she felt for the sufferings 
 of Siegfried's parents. And the love she bears 
 to their son is likewise pure and passionless : hers 
 is the divine, ideal love, which has no element 
 of destruction in it, and is, therefore, eternal. As 
 opposed to this, Siegfried's love is the human 
 passion, which, in its violence, sweeps all before 
 it, and bears within itself the germ of death. 
 
 She implores him not to approach her, not to 
 touch her, but to love the image of himself in 
 her, and to leave her as she is. We again note 
 a new Motive^ accompanying, on the violins, the 
 words in which she calls Siegfried, " ^^e 'Wotf^'0 
 
 ^reaeute" (54)- 
 
 Her passionate entreaties only make him love
 
 ACT III. 112 
 
 her the more ; and he cries, — " Be mine, be 
 mine ! " 
 
 " Thine was I always ; thine shall always be," 
 she answers. 
 
 " Be mine, then, now," he replies, and seizes 
 her again. 
 
 LOVE'S VICTORY. 
 
 The passion in him gradually gains possession 
 of her, too ; and, by degrees, the immortal in her 
 gives way to feelings as human, and as agitated, 
 as Siegfried's own. As she gives herself wholly 
 up to this change, and renounces her maidenhood 
 and immortality, all the wild, tempestuous element 
 of her Walkliren nature surges up in her breast 
 in a tide of passionate love and longing. Clasping 
 her hero, she cries, — "Oh, Siegfried, dost thou 
 not perceive how my glance burns, how my arm 
 presses thee, and how the blood courses through 
 my veins ? Dost thou not feel the glowing fire ? 
 Dost thou not fear the wild, passionate woman ? " 
 
 Siegfried, in the triumph of his love, has for- 
 gotten what fear is ; and jubilantly they surrender 
 themselves wholly to the iniluence of the exultant, 
 overpowering feehngs in their hearts, though this
 
 113 SIEGFRIED. 
 
 passion bears in itself the element of destruction, 
 both for tliemselves and for the gods. 
 
 Walhall's glory can fade, and the proud castle 
 fall into dust. The eternal race of the gods may 
 pass away, and the thread of destiny be broken. 
 But Briinnhilde, in her happiness, surrenders herself 
 willingly, and calls down the night of annihilation 
 on all that she once held sacred. Siegfried is 
 hers, her star, her god. She has awakened to be 
 his wife. With an exulting cry of, — " Shining 
 Love, laughing Death," — they fall into each other's 
 arms. 
 
 The joyous Motive of feot)e'0 (Bc0fa0|9 (55) 
 resounds triumphantly as the curtain falls.
 
 of 
 (Botferbdtnmerun^. 
 
 Destiny sometimes breaks, even when woven by 
 Fate. 
 
 Ambition, blind and ignorant, often betrays 
 both itself and Love, though the latter's final 
 triumph, through Self-sacrifice, is supreme. 
 
 "5
 
 (Bottcrbantnierung. 
 {Z\K Zm\u}ht of tbc (5q^5,) 
 
 The Overture. 
 
 The "dark close" of their "voluptuous day," is 
 
 drawing nigh for the gods : but a new day is 
 
 dawning for Wotan's human offspring, a day that 
 
 brings to a climax the intrigue and deception first 
 
 brought into the world by Alberich's curse, and 
 
 through which Wotan's children must fight their 
 
 way, in sorrow and suffering, till the end. 
 
 The orchestra opens the musical prelude to this 
 
 last, tragic day of the drama, with the Motive of 
 
 Brunnhilde's Awakening (51). These chords 
 
 then disappear in the dark harmonies of Destiny 
 
 (23), and of the Gods' End (23a). 
 II
 
 117 <^ <>* TTE RDAMMER UNG. 
 
 ACT I. 
 
 * * * 
 
 THE THREAD OF DESTINY BREAKS. 
 
 The curtain rises on the same scenery, 
 The Norns. • , , 
 
 on which it fell m the last Act of 
 
 "Siegfried." Now it is night, and a red glow 
 
 lights up the figures of the t^ree (Uorn6, or 
 
 Fates, as they weave the threads of destiny into 
 
 a corb, which they throw from one to the other. 
 
 A minor movement weaves in and out on the 
 
 stringed instruments, and is descriptive of their 
 
 occupation. 
 
 Their mysterious song is a sort of echo of all 
 that has happened, throughout the drama, from 
 the beginning of all things, down to the approach- 
 ing end of Walhall. The majestic Motive of the 
 Q^Urning of OTaf^aff (56) is a new and im- 
 portant one on this last day of the drama. 
 
 Among other well-known Motives, that of the 
 Ring (7) predominates. To the Motive of the 
 Curse (22) the thread breaks. The three Norns
 
 ACT I. it8 
 
 rise, and, gathering up the ends of the cord, they 
 bind themselves together with them, and sink- 
 down into the earth, never to reappear 
 
 A PERFECT PAIR. 
 
 Now gradually the day breaks. 
 The following Motives prepare us for the en- 
 trance of Siegfried and Briinnhilde. On the horns 
 
 resounds ^tegfneb*0 ^eroic Moth-e (57), a 
 
 new theme, which is characteristic, in its stately 
 chords, of his heroic manliness, while, at the same 
 time, it is cheerful in its movement. The im- 
 petuous youth has developed into a stalwart hero, 
 now in the prime of life. Free and joyous as ever, 
 he has also assumed the dignity which becomes 
 his manhood. 
 
 (J$riinn^if^e*6 nem Motive (58), played by 
 violins, is soft and sweet, and denotes also the 
 change in her character, and the altered nature 
 of her love. The wild Walkiire maiden is 
 transformed into a loving woman, whose whole 
 heart and soul are bound up in Siegfried. 
 To him she has given all she possessed, — the 
 divine wisdom inherited from her mother, and the 
 strength received from her father. And now she
 
 119 GO TTERDAMMER UNG. 
 
 has nothing left but her love for Siegfried, and 
 her perfect confidence in him. 
 Briinnhilde. Now the pair enter, ^tegfrte^ in 
 Siegfried, complete armour; (J$rutin^if^$ lead- 
 ing her horse, (BtrCine, by the bridle. 
 
 FAREWELL 1 
 
 The hero's restless, energetic nature fills him 
 with a longing to get out into the world, and to 
 achieve new deeds of prowess. It is human 
 nature, that " man dreams of fame, while woman 
 wakes to love." Siegfried, in this drama, repre- 
 sents the type of manhood. 
 
 So he takes leave of Briinnhilde, who 
 The Ring. . . . . 
 
 gives him, as a partmg gift, her horse, 
 
 Grane, in exchange for which she receives the 
 
 (Tli6efungen (Ring; as a pledge of Siegfried's 
 
 love. 
 
 The new Motive of f ^etr feove (59) is sweet, 
 
 cheerful, and full of hope. Their parting is full of 
 
 the overflowing joy of those whose love is such a 
 
 perfect bond, that they have no fear of anything 
 
 coming between them to mar their happiness, or 
 
 to shake their confidence in each other. To a 
 
 lively movement, — resembling that of his delight
 
 ACT I. I20 
 
 at getting out into the world, in the third part of 
 the drama (46), — the hero departs, leading the 
 horse down the rocks. The cheerful sound of his 
 horn reaches Briinnhilde, who stands and waves 
 farewell to him, to the Motive of their Love 
 Greeting (52). In the interval that follows, after 
 the curtain has fallen, the music of the orchestra 
 describes to us Siegfried's descent, through the 
 flames surrounding the rock, down on to the 
 Rhine. Again we hear the Song of the Rhine- 
 Maidens (6), and the Motives of the Gold (5), 
 and of the Ring (7). 
 
 Now, on the brass instruments, resounds a new 
 
 Motive, which is rather pompous, though fairly 
 
 quick in its movement, and cheerful. It is the 
 
 (BiBtC^ung Motive (60). 
 
 Gunther '^'^^ curtain now rises, and we have 
 
 Gutiune. before us a large hall, in the <£»t6ic^ung 
 
 Hagen. ^(j.0f f ^^ through the open door of which 
 
 we look out on to the banks of the Q^^ine, and its 
 
 waves. (Bunt ^er and (^utrune, the remaining 
 
 representatives of the Gibichung race, are seated 
 
 on high chairs of state. On a lower level in front 
 
 of them sits ^aQCUf their half-brother; the son 
 
 of the Nibelung, Alberich.
 
 12 1 CO TTERDAMMER ung. 
 
 HA GEN'S INTRIGUES. 
 
 The GinicHUNG Motive (6o) is a well-marked, 
 decisive expression of the character of the race, 
 which is, indeed, heroic, but marred by a greed 
 for gain and desire of dominion ; — attributes which 
 show a similarity between this race and that of the 
 Nibelungen. Contented self - possession charac- 
 terises Gunther, who prides himself on being a 
 worthy representative of the Gibichung house : 
 but it is to the cunning Hagen that he looks for 
 counsel and advice. The latter now tells him 
 that there are still goodly possessions of which 
 (iunther has not made himself master. The 
 Gibichung race, in its pride and strength, is yet 
 in danger of disappearing ; Gunther has no wife, 
 and Gutrune no husband. And Hagen tells 
 them of the heroic pair, Siegfried and BrLinnhilde, 
 and insinuates that the latter would be the wife 
 for Gunther, if Siegfried could be made to bring 
 her to him. Hagen then reminds them of the 
 magic potion which he can prepare, and which, 
 if Siegfried partook of it at Gutrune's request, 
 would cause him to fall in love with her, and to 
 forget BrLinnhilde entirely.
 
 ACT I. 122 
 
 The Motive of the ©raug^t of Sorget* 
 
 fufnees (6i), — this new, dark magic of the 
 Nibelung's son, — somewhat resembles that of 
 the Tarnhelm (17); the notes of both motives 
 resounding low and ominously on the horns, in 
 mysterious tones, like some subtle poison, slowly 
 creeping in, and, almost unnoticed, completing 
 its deadly work. 
 
 Now ^tegfrieb'g horn is heard 
 again, resounding cheerfully as he crosses 
 the Rhine, and approaches the Gibichung castle. 
 The two men step out to meet him, with words 
 of welcome. Gutrune, who has watched his 
 arrival with visible excitement, now leaves the 
 hall as Siegfried enters it. He gives into Hagen's 
 care his horse, i^XMKt* 
 
 Gunther then offers the hero his services, 
 together with the use of his land and vassals. 
 
 Siegfried answers that he has inherited nothing 
 but his own body ; and his only possession is the 
 Sword, which he made himself: but these he offers 
 to Gunther, in return for his hospitality. Here 
 arises, on the stringed instruments, the sweet, insinu- 
 ating Motive of (E»unt^er'fi Sti^t^^C^ip (62). 
 
 The Hagen, standing behind Siegfried, 
 
 Tarnhelm. reminds him of the Nibelungen
 
 123 G OTTER DAMME RUNG. 
 
 Treasure, of which it is rumoured that he is 
 master. Siegfried had ahiiost forgotten its exist 
 ence : but, on Hagen's asking if he took nothing 
 from it, Siegfried shows him the ^am^efm, 
 of which, for the first time, he now learns the 
 power from Hagen. 
 
 TITE DRAUGHT OF OBLIVION. 
 
 Siegfried also tells them of the Ring, which is 
 
 now in the keeping of " the fairest of women." 
 
 Now (0utruuc enters, bearing a 
 Gutrune. 
 
 drinking-horn, which she offers to the 
 
 welcome guest. (BtltvUUC's Motive (63) then 
 
 resounds, in delicate, subtle tones, resembling 
 
 those of her brother's Motive of Friendship 
 
 (62). Siegfried takes the horn, and, thinking 
 
 lovingly of Briinnhilde, he drinks to her this 
 
 lirst ^t(lU3^f that he has tasted since their 
 
 separation. We hear the sweet melody of their 
 
 Love Greeting (52), the grand Motive of 
 
 Wotan's Bequest (50), and the delicate chords 
 
 of Brunnhilde's Awakening (51). But, as he 
 
 drinks, these sweet harmonies give place to the 
 
 dark Motive of Forgetfulness (61), which 
 
 in its turn, changes into Gutrune's Motive (63).
 
 ACT I. 124 
 
 As Siegfried lets the liorn fall, his glance lights 
 on Gutrune : she looks away, to escape his pas- 
 sionate gaze. He seizes her hand, and asks, 
 if she will refuse, as her brother did, to accept 
 his devotion. Gutrune makes a gesture, which 
 seems to signify that she is unworthy of his 
 love; then she slowly turns, and goes out of 
 the hall. Siegfried, without taking his eyes off 
 her, as she disappears, asks Gunther if he has 
 a wife ; and learns, without the least surprise 
 or emotion, — as if he had never heard her name 
 before, — that it is Briinnhilde, whom Gunther 
 covets : only the Gibichung hero cannot get to 
 her, because of the fire surrounding her retreat. 
 
 Siegfried offers his services again to Gunther, 
 to bring Briinnhilde to him ; and desires, for a 
 reward, Gutrune as his wife, 
 
 THE TIE OF FRIENDSHIP. 
 
 Gunther then proposes that they shall swear 
 an oath of fidelity. The Motive of the Curse 
 (22) belies his words, however. So Siegfried and 
 Gunther take the oath of fidelity and brother- 
 hood, over a horn filled with wine, into which 
 they each let fall a drop of blood to seal their
 
 125 GOTTERDAMMERUNG. 
 
 oath. He who breaks the pledge of friendship, 
 shall atone for it with his blood. The Motive 
 of (^foUCtliettf (64) breaks heavily into the 
 livelier music accom])anying their pledge. 
 
 After they have drunk, Hagen cuts the horn 
 in two with his sword. He has not joined in 
 the bond of the two men, who are already un- 
 conscious victims of the dark plot, which the 
 Nibelung's son is preparing, in order to get the 
 Ring into his own hands. 
 
 Siegfried and Gunther then joyfully 
 Gutrune. 
 
 prepare for the journey across the Rhnie. 
 
 As they put off in their boat, (B^uftUUe hurries 
 
 out of her apartment, and asks whither they are 
 
 going. "To fetch Briinnhilde," — answers Hagen. 
 
 "See how Siegfried is driven by the desire to 
 
 win thee." 
 
 We hear the sw-eet, and very similar Motives 
 of Love (14) and of Gutrune (63), as, with 
 joyous step, she goes back to her apartment. 
 
 Hagen is left alone to keep watch and ward, 
 and to glory in the approaching triumph of the 
 Nibelungen over the Heroes, and in the growing 
 dominion of the powers of darkness. The scene 
 closes with the dark Motives of ALnERicn's 
 Revenge (21) and Triumph (iSI.
 
 ACT I. 126 
 
 A WARNING. 
 
 Eriinnhilde. Now Brunnhilde's Motive (58) re- 
 Waltraute. g^^j^^jg again ; and the scene is changed 
 into that in which Siegfried took leave of her. 
 (J^tiiun^if^e is alone, and sunk in contemplation 
 of .the (King. As sweet memories come over her, 
 she passionately kisses this symbol of Siegfried's 
 love. The music which accompanies her thoughts, 
 — the Motives of her Awakening (51), and of 
 Siegfried, the World's Treasure (54), — is 
 interrupted by the stormy Ride Motive (37), a 
 sound that at once attracts Briinnhilde's attention ; 
 and, looking up, she sees one of the Walkiiren 
 come riding through the air, and descend on to 
 the rock. It is her sister TQJaffraufet whom, 
 as she alights, Briinnhilde greets joyfully, asking 
 excitedly, what has caused Waltraute to break 
 Wotan's command. Or has his anger softened 
 towards her ? For the punishment he has assigned 
 to her has made her the happiest of mortals, since 
 it has brought her Siegfried's love. Or perhaps 
 Waltraute wishes to share her happiness, and has, 
 therefore, dared to defy Wotan. 
 
 In haste and fear, strangely contrasting with her
 
 127 GOTTERDAMMERUNG. 
 
 sister's joy, Waltraute answers that the anguish 
 which urged her to leave Walhall, will drive her 
 thither again. 
 
 " What has happened to the eternal gods ? " — 
 cries Briinnhilde, now terrified also. And then 
 she hears from Waltraute's lips, the grand, tragic 
 description of the last assembling together of the 
 gods in Walhall. 
 
 & 
 
 SORROW AND FEAR REIGN IN 
 WALHALL. 
 
 Since he parted from Briinnhilde, \\'olan had 
 no longer sent the other Walkiiren out to l^attle : 
 they rode aimlessly through the clouds, in fear 
 and trembling. \\' otan himself wandered solitarily 
 and restlessly through the world. Once he came 
 back to Walhall with his spedf firofteu in his 
 hand. Silently he motioned the heroes in Walhall 
 to cut down the tree, from whose roots the spring 
 of life and eternal wisdom flowed ; and to pile the 
 wood up around Walhall's halls. Here the Motive 
 of the Burning of Walhalt, (56) is roUowed by 
 that of the God's Distress (35). Then, calling 
 together the gods, Wotan took his place among 
 them. Now he sits thus, silent and motionless,
 
 ACT I. 128 
 
 clasping the pieces of the broken spear in his 
 hand. Astonishment and fear have petrified the 
 gods. 
 
 Wotan has sent his fnjO t(ltjeU0 into the world. 
 " Should they again return to Walhall, with good 
 news, the god would once more smile, for the last 
 time through eternity." 
 
 The Walkiiren clasp his knees, and lie at his 
 feet. Waltraute herself lay, weeping, on his breast ; 
 and Wotan, thinking of Briinnhilde, murmured, — - 
 " If she gave back the Ring to the daughters of 
 the deep Rhine, the gods and the world would be 
 freed from its terrible curse." 
 
 Waltraute heard these words, and this is what 
 has brought her to Briinnhilde. She entreats her 
 sister to throw into the waves the Ring, which is 
 the cause of such universal misery. But little does 
 Waltraute suspect the force of human passion, or 
 what the Ring is to Briinnhilde. As the symbol 
 of Siegfried's love, it is more to his bride than the 
 delights of 'V^'^alhall, more than the eternal glory 
 of the gods, or their happiness. Not to save a 
 world from destruction, will she renounce Love, 
 and never shall they take the Ring from her.
 
 129 GbTTERDAMMER UNG. 
 
 BASE TREACHERY. 
 
 To these passionate declarations of Briinn- 
 
 hilde's the orchestra replies with the tragic 
 
 Motive of Renunciation (8). For she will be 
 
 compelled, by a force that she cannot resist — 
 
 nay, by Siegfried himself, — to give up the Ring, 
 
 to which she clings so resolutely. 
 
 But now, in the triumph of her 
 Siegfried. 
 
 love, she is blind to the curse, and 
 
 rushes on to meet her doom. Even as Waltraute, 
 
 in despair, leaves her, the ffameS begin to 
 
 flicker up around the rocks, and ^tesfticb's 
 
 horn is heard through them. 
 
 The In a transport of joy, Briinnhilde 
 
 Tarnhelm. runs to meet him. But as he appears, 
 
 in Gunther's form, with the ^am^efm on his 
 
 head, she starts back in terror and amazement ; 
 
 then, running to the other side of the scene, 
 
 she stands motionless and speechless. 
 
 The dark Motive of Forgetfulness (6i) 
 fills the air, followed by the Gibichung 
 Motive (6o). 
 
 Siegfried, who leans on his shield, and observes 
 her for some time, then commands her to follow
 
 ACT I. 1,30 
 
 him ; for she must be his wife, and he threatens 
 to use force, if nothing else will compel her. 
 
 Astonishment and terror take possession of 
 Briinnhilde. Who is the terrible being, that has 
 come through the fire, and that threatens her 
 thus ? Is he human, or is he one of the dark 
 powers of hell ? Siegfried replies that Gunther 
 is the hero to whom she will belong. 
 
 Then she breaks out in despairing accents, — 
 " Wotan, thou fearful god ! Woe is me ; now I 
 see the meaning of the punishment." The 
 
 Motive of Q$runn^if^e'6 '©esjjair (^15) 
 
 accompanies her words. 
 
 As Siegfried now comes nearer to her. 
 The Ring. 
 
 we hear the Motive of Alberich s 
 
 Revenge (21). She threateningly holds up the 
 
 (Ktng, and bids him fear that symbol : it shall 
 
 protect her from shame and dishonour, for its 
 
 possession lends her a supernatural strength. 
 
 Siegfried, seizing her, tries to wrest it from her ; 
 
 and, as they struggle, Briinnhilde's despair gives 
 
 her strength, by which for some time she is 
 
 enabled to withstand Siegfried's efforts to get 
 
 the Ring.
 
 131 GOTTERDAMMERUNG. 
 
 THE BETRAYAL OF LOVE. 
 
 We hear the Motives of Siegfried (54) and 
 Brunnhilde (58), of the Walkuren (38) 
 and the Motive of the Curse (22), all raging 
 one against another in wild disorder, till, to the 
 dark Motive of Forgetfulness (61), Siegfried, at 
 length, forces the Ring off her finger. Then the 
 Motive of Ai.berich's Revenge (21) reminds us of 
 the evil influence at work throughout the whole scene. 
 
 With a cry Brunnhilde sinks to the ground, and 
 her Motive (58) resounds in sorrowful, minor tones. 
 
 Siegfried, however, holds up the Ring in 
 triumph, and cries, — " Now thou art mine, 
 Briinnhilde ! Gunther's bride." She is vanquished 
 and annihilated : her courage is broken, her 
 strength gone; and black despair and misery 
 reign in her breast, in place of the exultant 
 happiness, which had been hers not long before. 
 Trembling, and mth bowed head, she almost 
 staggers, as, in obedience to Siegfried's imperative 
 gesture, she enters her apartment. 
 
 Then Siegfried draws his ^ttJOt^, which shall 
 separate him from his friend's bride, and follows 
 her with a triumphant step as the curtain falls.
 
 ACT If. 132 
 
 ACT II. 
 
 The Prelude. 
 
 The Motive of Aleerich's Revenge (21) pre- 
 dominates here, together with that of the Ring (7); 
 and a new dark phrase is introduced by a horn, 
 and, with reference to its import in the drama, 
 may be called the Motive of ^ttuv^et (66). 
 
 THE NIBELUNG'S PLOTS OF 
 REVENGE. 
 
 Hagen. The curtain rises on a scene, which 
 
 Alberich. represents the 6an66 of f^e (R^iue, 
 
 oufei^e t^e (Bifitc^ung Caetfe, at the 
 
 entrance to whose halls sits ^ftgett asleep. A 
 
 stream of moonlight, falling on him, reveals a 
 
 dark hgure at his feet. It i:; the Qtifiefuug, 
 
 (^ffi^VtC^, who has come up in the night, to 
 12
 
 i 33 G OTTER DAMMER UNG. 
 
 incite to new deeds of intrigue and darkness 
 the son, who has inherited his evil character, 
 and into whom he has instilled feelings of hatred 
 and desire for revenge. For, Alberich has 
 brought up Hagen to avenge the wrongs done 
 to himself by Wotan, and to restore the Ring 
 to the Nibelung. 
 
 On receiving the assurance, that Siegfried, the 
 
 master of the Ring, is already in Hagen's power, 
 
 together with an oath from the latter, that he will 
 
 procure the Ring for Alberich, the Nibelung sinks 
 
 down through the ground, calling repeatedly to his 
 
 son, — " Be true." 
 
 Siegfried. Now the day breaks, and ^iegfriet) 
 
 Gutrune. suddenly appears on the scene in his 
 
 own form. The ^am^efm is still on his head, 
 
 but he removes it, and hangs it on his belt. He 
 
 greets Hagen hastily. The latter slowly rises, and 
 
 calls ^\xi,X\XXKt^ who now enters. Siegfried then 
 
 relates to her and Hagen, how he won Briinnhildc 
 
 for Gunther, and how the pair are following him in 
 
 a ship across the Rhine. 
 
 Gutrune's slight touch of jealousy at Siegfried's 
 having wooed Briinnhilde for Gunther is soon 
 allayed ; and joyfully she goes to prepare for the 
 marriage ceremony, Siegfried following her.
 
 ACT If. 134 
 
 Giinther's Hagen then calls together the ^iQi^ 
 
 Vassals. c^ttUg ^aggftfg, with a cry of, — 
 
 " Danger is near ; weapons through the land." 
 
 .\rmed men hurry in from all sides, to learn what 
 
 danger threatens the Gibichung race. 
 
 Hagen stands like an evil spirit, throwing a dark 
 shadow over the approaching festivities. All his 
 plans are laid to ruin Siegfried. As he tells the 
 men to prepare for the wedding, he adds that they 
 must be ready to avenge any wrong, that might 
 be offered to the bride of their lord. 
 
 Gunther. The men's laughter at Hagen's tragic 
 Bninnhilde. solemnity, on even such a joyful occasion 
 as this, only ceases as the boat, containing (B»unf ^et 
 and (jBtunn^tf^e, is seen approaching. Some of 
 them run, and assist the bridal pair to descend, 
 while the others give them a noisy welcome. 
 
 BRUNNHILDE'S PASSION. 
 
 Siegfried. But all joy is soon to come to an 
 Giitrune. end. As Gunther, leading Briinnhilde 
 by the hand, advances towards the entrance to the 
 castle, ^tegfrte^ and (^uttune come out to 
 meet them. Gunther greets them, calling them 
 by their names. As she hears that of Siegfried,
 
 135 GO TTERDAMMER UNG. 
 
 Briinnhilde, who until now has followed Gunlher 
 
 with slow step and bowed head, suddenly looks 
 
 up. Perceiving Siegfried, she takes a quick step 
 
 forward ; then, however, retreats as suddenly, and 
 
 stands motionless, her eyes fixed on him. 
 
 A murmur of astonishment is heard from those 
 
 surrounding them. Siegfried, however, calmly 
 
 stepping towards her, asks — " What is it that 
 
 troubles Briinnhilde ? " 
 
 With an effort she gasps, —" Siegfried ! . . , 
 
 here ! . . . (iutrune ? " 
 
 " Gunt'iier's mild sister wedded to me, as thou 
 
 to Gunther," answers the hero. 
 
 " 1 to Gunther ! . . . thou liest," she cries ; 
 
 and then, as she sways, and nearly falls, Siegfried, 
 
 who stands nearest to her, supports her. Leaning 
 
 wearily against him, she murmurs, — "Siegfried 
 
 knows me not ! " 
 
 Ikit Siegfried gives her over to 
 The Ring. , , . , . . , 
 
 Gunther, and, m doing so, raises the 
 
 finger, on which he wears the (Ring. As she 
 suddenly sees this, Briinnhilde, in the greatest 
 agitation, exhorts Gunther to demand from Sieg- 
 fried the Ring, which he, Gunther, took from her, 
 and with which he forced her to become his wife. 
 The greatest excitement prevails amidst the men
 
 ACT 11. 136 
 
 and women watching the scene. Now Hagen, 
 stepping in among the men, bids them take note 
 of what Briinnhilde says. 
 
 The whole scene, which is the work of the 
 Nibelung, is supported by the Motives of 
 Alberich's Revenge (21) and Triumph (18). 
 The Ring and Gold Motives (7, 5) also recur. 
 
 Meanwhile Gunther, in great confusion, declares 
 that he does not know the Ring, and that he gave 
 no Ring to Siegfried. Then Briinnhilde, with 
 irrepressible anger, accuses Siegfried of having 
 stolen it from her. But the hero answers, that 
 from no woman did he get the Ring : he remem- 
 bers well, that it was the reward of his victory over 
 the Dragon. 
 
 Hagen, now intervening, tells the bewildered 
 Briinnhilde, that, if she really recognises the Ring, 
 then Siegfried won it through deceit, which he 
 shall repent. But Briinnhilde, almost beside her- 
 self with sorrow and anger, cries, — to the Motive of 
 Despair (65), — " Deception ! shameful deception, 
 and treachery, such as never before was avenged." 
 Then, with sudden calm, to the pathetic Motive 
 of her Justification (40), she appeals to the gods, 
 who have created for her sorrow and shame, such 
 as never were suffered before, to inspire her with
 
 137 GOTTERDAMMERUXG. 
 
 anger and vengeance, that cannot be averted ; and 
 to teach her to break her heart, tliat she may 
 destroy him, who has deceived her thus. 
 
 In vain Gunther tries to subdue her passion. 
 She cries, that not to him, but to Siegfried, has 
 she been wedded : adding sorrowfully, to the 
 Motive of Renunciation (8), — " He took my 
 love and happiness from me." 
 
 SIEGFRIED'S OATH. 
 
 Siegfried denies the charge of disloyalty to 
 Gunther and Gutrune ; and the brother and sister 
 urge him to prove the falseness of Briinnhilde's 
 accusation, while the men demand from him an 
 f)ath, that he is blameless. Hagen offers his 
 Z'ptMt on which Siegfried swears, saying, — "Where 
 death can o'ertake me, there shalt thou strike me, 
 if the woman there spoke true." These words 
 are significantly accompanied by the Motive of 
 Murder (66). Btiinnhilde, who has listened to 
 this with growing indignation, now rushes forward, 
 pushes Siegfried's hand off the spear, and, seizing 
 the point in her own, she swears, to the same dark 
 Motive., that his oath is false; and she blesses 
 the spear, tliat il may avenge her wrongs.
 
 ACT JI. 138 
 
 Siegfried, in anger, tells Gunther that what 
 Briinnhilde has sworn is a shameful lie. The 
 horrified crowd does not know what to believe, 
 or which of them is forsworn : however, Siegfried 
 endeavours to calm their indignation, and soon 
 succeeds. At the same time, he whispers to 
 Gunther, that probably the Tarnhelm had not 
 sufificiendy covered him ; and that Briinnhilde is 
 angry, because he won her for Gunther. 
 
 Now, with his usual vivacity, Siegfried calls the 
 people together, and bids them rejoice with him 
 over his wedding. His hilarity soon spreads amid 
 the crowd ; and, when he puts his arm round 
 Gutrune, and the pair enter the hall with light 
 step and cheerful mien, the crowd joyfully follows 
 after them. 
 
 HAGEN'S TRIUMPH. 
 
 Meanw^hile Gunther, overcome by shame and 
 anger, has sunk down on to the ground, and 
 hidden his face in his hands. Hagen stands 
 motionless, watching Briinnhilde, who, in her per- 
 plexity, is trying to fathom this terrible problem, 
 in face of which all her wisdom is as nothing. 
 
 The memory of Siegfried's affection resounds
 
 139 GOTTERDAMMERUNG. 
 
 pathetically in the Motive of their Love (59) ; 
 but is soon succeeded by the dark Motives of 
 Murder (66) and Despair (65), as Briinnhilde 
 asks herself,— " What evil craft lies hidden here?" 
 She cannot guess what magic has wrought such 
 a terrible change in Siegfried ; and, in her anguish, 
 she turns to the only means left to her of putting 
 an end to it, — Revenge. But who will offer her a 
 sword, with which to sever the ties that still bind 
 her to Siegfried ? 
 
 Now Hagen's time has come, and, stepping up 
 to her, he offers his 0|)eClt*, to avenge her wrongs. 
 Here a new phrase, played by the bassoons, cellos, 
 and double-basses, — the Motive of ConSJJttdCl? 
 (67), — occurs. This Motive, whose origin we can 
 trace in that of Despair (65), together with that of 
 Murder (66), predominates till the end of this 
 dark scene. 
 
 Briinnhilde laughs bitterly at the idea of Hagen's 
 avenging her wrongs : a single glance of Siegfried's 
 eagle eye, which she knows so well, would put to 
 flight all Hagen's valour. Even though the hero 
 has sworn a false oath on Hagen's weapon, his 
 victorious strength would protect him from all 
 danger. For, Briinnhilde has given to Siegfried 
 all the power she once possessed as A\^otan's
 
 ACT IT. 140 
 
 daughter ; and with her magic has made him 
 invulnerable, " Oh ! ingratitude ! what a shameful 
 reward ! " she cries. 
 
 " So, then, no weapon can hurt him ? " asks 
 Hagen. " Not in battle," she answers ; " for I 
 know that he never yields, or, fleeing, turns his 
 back to the enemy." Then, with sudden resolu- 
 tion, she tells Hagen, that, if he strikes Siegfried 
 in the back, the blow will be fatal. This secret 
 Briinnhilde reveals to the Motive of Alberich's 
 Revenge (21). Unwittingly she, too, has become a 
 tool in the hands of the Nibelung's son ; and thus 
 unconsciously furthers his designs against herself 
 and the gods, besides completing Siegfried's ruin 
 
 PLOT FOR THE HERO'S DEATH. 
 
 Triumphantly Hagen now rouses Gunther, who 
 groans, and laments his utter disgrace. Briinn- 
 hilde, too, scornfully reproaches him with cowardice 
 and falseness, saying that he hid himself behind 
 Siegfried, in order that the latter might win for 
 him the prize ; and that the Gibichung Race has, 
 indeed, sunk low to produce such faint-hearted 
 creatures. Her words drive Gunther to despair ; 
 and he appeals to Hagen to help him. But the
 
 1 4 [ GO TTE R DA MMER UNG. 
 
 latter answers, that nothing will help him except 
 Siegfried's death. Gunther reminds him of the 
 bond of brotherhood existing between them. 
 " Which bond he broke," replies Hagen. 
 
 " Did he betray me ? " asks Gunther. 
 
 " He did betray thee," answered Briinnhilde ; 
 " but me have ye all betrayed. Were I avenged, 
 all the blood in the world would not expiate your 
 crime. But the death of one shall suffice for all ; 
 Siegfried shall fall, as atonement for himself and 
 for you." 
 
 Hagen tells Gunther, also, of the power of the 
 Nibelungen Ring, now in Siegfried's possession. 
 But still Gunther hesitates, thinking of Gutrune. 
 At the mention of this name, however, a sudden 
 light breaks in on Briinnhilde's mind. Now she 
 sees what magic has bewitched Siegfried. It is 
 Gutrune, who has robbed her of his love : may 
 anguish overtake her ! 
 
 Hagen now proposes to kill Siegfried on the 
 morrow, during the hunt, when Gutrune will not 
 be present ; and the three unanimously cry, — " So 
 shall it be : Siegfried shall fall." Thus Briinnhilde 
 and Gunther will be revenged for the wrong done 
 to them by the hero, and Hagen will achieve his 
 object, and become master of the Ring.
 
 ACT IT. 142 
 
 While Brunnhilde calls upon Wotan to listen to 
 their oath of vengeance, Hagen invokes Alberich, 
 and bids him prepare for the triumph of the 
 Nibelungen. Again the demoniacal Motives of 
 Murder (66) and of Conspiracy (67) mingle 
 Avith the sweet ttje^bing mU0ic, as Gutrune and 
 Siegfried are borne forth from the hall, in joyful 
 procession, surrounded by the delighted crowd. 
 Gunther takes Briinnhilde's hand, to follow them, 
 and Hagen is left alone as the curtain falls.
 
 143 GO TTER DAMMER UNG. 
 
 ACT III. 
 
 The Prelude. 
 
 In the prelude to this last Act of the drama, we 
 hear Siegfried's and Hagen's horns, followed by 
 the well-known melodies of the Rhinegold (2, 6). 
 
 WARNING VOICES. 
 
 As the curtain rises the freshness and bright- 
 ness of the scene remind us of the opening of the 
 drama, when the beauty of nature was not clouded 
 by the tragedy of human passion and sin. 
 
 The scene is placed on the 6{iu€0 of 
 
 , ^ , ffie CRBitt^t^rom whose waves resounds, 
 
 daughters. ^ ^-^ ^ 
 
 as of old, the song of the f ^ree Q^^tne; 
 
 ^<lU9^fcV0) as they swim on the surface of the 
 waters, and sing always of their lost Gold. 
 
 Now Siegfried's horn is heard ; 
 Siegfried. 
 
 and they all three disap[)car under the
 
 ACT III. 144 
 
 waves as he enters. He is in search of the bear, 
 which he is hunting, and of which he has lost 
 all trace. Now his attention is suddenly attracted 
 by the song of the three maidens as they reappear 
 above the waves, and laughingly offer to give him 
 what he is looking for, in exchange for the (Ring 
 on his finger. But such an exchange does not 
 seem desirable to Siegfried ; and only after a good 
 deal of mocking laughter on the part of the lively 
 maidens at his unwillingness to part with it does 
 Siegfried tell them they may have the Ring. But 
 now, in more earnest tones, they bid him keep it, 
 and learn what misfortune attaches to the posses- 
 sion of it. 
 
 "Now sing what ye know," replies Siegfried. 
 
 They then tell him of the cut*00, and counsel 
 him to avoid it. To the Motive of the Gods' 
 End (23a), they warn him of the fate awaiting 
 him, if he does not give the Ring back to the 
 Rhine. 
 
 But if Siegfried was deaf to their mockery, he is 
 much more so to their threats, and laughs at their 
 warning. He does not know what fear is ; and 
 cares as little for his life as for the 0fouCt which, 
 while saying these words, he picks up and throws 
 far from him.
 
 145 GO TTERDAMMER UNG. 
 
 The maidens see tliat their warning has no 
 effect on the hero, who knows not what a high 
 gift he has thrown away, — viz., Briinnhilde's love. 
 Accompanying their words, we hear Brunnhilde's 
 Motive (58). Nor will he now give up a Ring, 
 that, retained, will be the cause of his death. So, 
 bidding him farewell, the Rhine-daughters swim 
 away singing, to warn Briinnhilde of the Curse. 
 From her they hope for a better hearing. 
 
 Now hunting-horns resound, to which 
 
 ^ '', Siegfried responds cheerily on his own. 
 
 Gunlher. or- j 
 
 But the Motive of the Curse (22) 
 breaks in on these lively strains. Then Hagen's 
 voice is heard, hailing Siegfried ; and the next 
 moment a crowd of huntsmen, among whom are 
 (0unf^ei* and ^agen, come down to where 
 Siegfried stands. 
 
 They all listen with astonishment to the viarration 
 of his adventure with the Rhine-daughters. But 
 Gunther starts, and looks meaningly at Hagen, as 
 he hears of their warning to Siegfried, and their 
 dark prophecy of his death. Hagen, however, 
 stands unmoved.
 
 ACT III. 146 
 
 STORY OF SIEGFRIED'S YOUTH. 
 
 Now Siegfried complains of thirst ; and a 
 drinking-horn is handed to him, the contents of 
 which he first offers to Gunther, who sighs at his 
 friend's careless vivacity. Hagen then asks Sieg- 
 fried, if he does not understand the song of the 
 birds. Siegfried, thinking to divert Gunther's 
 thoughts into a brighter channel, offers to tell 
 them the story of his youth. 
 
 During his narration of the events, — which 
 we already know from the third Play of the 
 Drama, that bears his name, — we recognise the 
 principal Motives of " Siegfried." The rhythmic 
 Motive of the Nibelungen (16), that of Mime's 
 Complaint (45), and the Motive of the Dragon 
 (20), all recur ; and over and above all is heard, 
 during his repetition of the Bird's Song, the 
 rustling of the leaves in the Forest Music. 
 
 As he relates the fate that overtook Mime, 
 Hagen's demoniacal laugh reminds us of the 
 mirth, with which Alberich witnessed his brother's 
 death. 
 
 Now, ere Siegfried continues, Hagen drops into 
 his horn the juice of some herb ; and, in the
 
 147 OO TTER DIMMER UNG. 
 
 orchestra, there is an echo of the Motii^e of 
 FoRGETFULNESS (6i), which formerly accompanied 
 the Draught of Oblivion. 
 
 Hagen then offers Siegfried this draught " to 
 refresh his memory." As the hero drinks, the 
 remembrance of liis love for Briinnhilde awakes 
 to the Motive of their Love (59). Now, too, as 
 he continues his narration, the Fire Motive (42), 
 mingled with the Slumber Motive (41), 
 accompanies his song ; and leads on to the 
 majestic Motive of Wotan's Bequest (50), and 
 to the triumphant chords of Brunnhilde's 
 Awakening (51), interrupted, however, by the 
 Motive of Conspiracy (67). With growing ex- 
 citement, and apparently forgetful of his audience, 
 Siegfried relates how he found, and awakened, 
 Briinnhilde. Gunther listens with increasing aston- 
 ishment and horror. 
 
 THE HERO'S DEATH 
 
 Now the Motive of the Curse resounds 
 (22), and two rdtjeUB Ay over Siegfried's head. 
 As the hero jumps up, and looks after them, 
 he turns his back to Hagen ; and the latter 
 gives him a mortal blow with his 0pe(Hf, before
 
 ACT III. 148 
 
 Gunthei, who has rushed forward, can prevent 
 him. 
 
 Siegfried turns, and, with a last, strong effort, 
 raises his shield to crush Hagen : but his strength 
 suddenly fails him, and, letting the shield drop, 
 he falls backwards on to it. The horrified crowd 
 looks on, speechless. Then, with the words, to 
 the Motive of Atonement (64), " I avenged his 
 false oath," — Hagen turns, and goes slowly away 
 up the hill. 
 
 Meanwhile, twilight has gradually stolen over 
 the scene. The dying Siegfried again opens his 
 eyes, and utters Briinnhilde's name. The present 
 and the near past have faded from his memory. 
 In spirit he is again bending over the form of 
 the sleeping Walkiire. The full-toned chords of 
 her Awakening (51), with their delicate harp 
 accompaniment, resound in his ears ; and his call 
 to her in his own Motive (39), to awake from the 
 sleep, in which he still imagines her to be, is full 
 of indescribable pathos. Then to the Motive of 
 their Love Greeting (52), he, in thought, again 
 arouses her from slumber. In the light of those 
 eyes, now eternally open for him ; with the air 
 fanning his cheek, like the warm breath from her 
 lips, he feels again Love's Ecstasy. To its 
 13
 
 149 COTTER DAM ME RUNG. 
 
 AIoTiVE (55), he once more calls the beloved 
 name, and then sinks lifeless to the ground. 
 
 IN MEMORIAM. 
 
 A moment of solemn silence ensues. Then we 
 hear the first low notes of, perhaps, the most 
 sublime music of the drama, — ^icgfticb's 
 
 Suneraf (^arc^. 
 
 The MoTii-Es of the Wai.sung Race (27, 28, 
 30, and 31), again resound in grand, triumphal 
 procession, reaching their crowning-point in the 
 Motive of the Sword (25). The Sikgfried 
 Motive (39) is heard, at first plaintively ; but 
 soon with the cheerful vivacity, that characterised 
 the hero himself. The Theme of his Heroism 
 (57) resounds in full, magnificent chords, that rise 
 high above the tragic music, which recalls to our 
 memory the sorrows and sufferings of this mighty 
 Walsung Race, sprung from a divine ancestry, 
 whose last scion, unfettered by the laws of the 
 gods, and without their protection, has worked out 
 his own dcHliny : but who, though he has fallen 
 a victim to the curse of the Ring, has yet died 
 wilii a pure love in his heart, and Briinnbilde's 
 name on his lips. 
 
 * * ♦
 
 ACT III. 150 
 
 And now it is BRtJNNHiLDE's Motive (58) 
 that leads us on to the very last scene of the 
 drama. 
 
 > TIfE RETURN FROM THE CHASE. 
 
 It is night in the (gifiic^Uttg ^aff0 ; and, 
 
 through the open door, we see the Q^^inC in the 
 
 moonlight. 
 
 (^utfUttC is watching and listening 
 Gutrune. 
 
 anxiously for Siegfried's return. The 
 
 Motive of that Hero (57) resounds in a sad 
 
 minor. Gutrune's heart is full of dark forebodings 
 
 and fears. She has seen a woman's form glide 
 
 to the water's edge. Was it that of Briinnhilde, 
 
 whom she dreads ? She calls the latter : but finds 
 
 her apartment empty. Ominous silence reigns 
 
 over all. In vain she strains her ears to catch 
 
 the sounds of Siegfried's horn. 
 
 Now, however, sounds are heard. 
 
 ^^^^' But they are '%(x^ZXk& voice, accom- 
 
 Gunther. 
 
 panied by the Motives of Conspiracy 
 (67) and of Alberich's Revenge (21). 
 
 As the men enter, Gutrune sees the fio^g of 
 i^t ^CCl^ ^VCO being brought in ; and, with a 
 wild sliriek, falls fainting on to it. On recovering.
 
 1 5 1 GOTTERDAMMER UNG. 
 
 she answers (£>UUt^Ct'6 compassionate caresses 
 
 with wailing and lamentations. 
 
 Meanwhile Hagen, indifferent to 
 The Ring. 
 
 Gutrune's sorrow, and to Gunther's 
 
 angry reproaches, claims the Q^tng on Siegfried's 
 finger ; and is about to take it, when Gunther 
 intervenes. The two men then draw their swords 
 and fight, till a thrust from Hagen's weapon brings 
 Ciunther to the ground, mortally wounded. Now 
 Hagen again steps forward to take the Ring, when 
 the dead hero's hand is raised with a threatening 
 gesture, which makes Hagen retreat in dismay, 
 and causes general terror. 
 
 The scene is, indeed, an impressive one. The 
 dark hall, filled with men in hunting garb, and 
 women in long, white robes, presents a weird 
 aspect in the flickering, uncertain light of the 
 torches, which they carry. They stand in dis- 
 ordered groups around the body of the dead hero, 
 which has been placed in the centre of the hall, 
 and at the side of which Gutrune crouches, 
 hiding her face in her hands. A little apart from 
 the rest, Hagen leans on his shield in an attitude 
 of defiance, with an expression of diabolical hatred 
 on his dark countenance. The doorway of the 
 hall is open ; and the calm beauty of the night
 
 ACT III. 152 
 
 where, in the moonlight, all seems to sleep, forms 
 a vivid contrast to the dark tragedy of the scene 
 within. 
 
 From this peaceful scene without, 
 Briinnhilde. ^ ^,^ ^ ^ ^^ ^ 
 
 (J^rtinn^tf^e now enters the hall, to 
 
 the Motives of Destiny (23) and of the Gods' 
 End (23a). With a quiet, dignified step she 
 passes through the groups of terrified men and 
 women, and bids them cease their wailings, which 
 are like those of children crying for their mother ; 
 but are not an expression of sorrow befitting the 
 hero, for whom they are uttered, Gutrune tries 
 to prevent her approaching the body : but Briinn- 
 hilde pityingly silences her rival's reproaches. She 
 was the hero's own true wife, before he ever 
 saw Gutrune. And now the latter recognises 
 that this is true ; and that only through Hagen's 
 magic had she been able to bind Siegfried to 
 herself; and bitterly she curses the Nibelung's 
 son, who is the cause of all this misery. Then, 
 leaving Siegfried's body, she falls on to that of her 
 brother, and remains thus, motionless, till the end. 
 We hear Gutrune's Motive (63) for the last 
 time.
 
 153 GO TTERDAMMER UNG. 
 
 BRUNNHILDE'S TRIUMPH OVER 
 PASSION. 
 
 Now JJiiinnhikle prepares for the last service 
 f)f love, that she can render to Siegfried. She 
 bids the men build up a funeraf pgre on the 
 banks of the Rhine. To share this final honour 
 with Siegfried, she also will be burnt with his 
 body. 
 
 She then takes a last, long look at the face of 
 the dead. He was the noblest of men, who, 
 nevertheless, had betrayed the only woman whom 
 he really loved. 
 
 But now the whole mystery has been revealed 
 to her. As, to the noble Motive of Walhall 
 (9), she invokes the divine powers to look down 
 on her sorrow, she recognises that Siegfried's 
 bravest deed, so desired by Wotan, — the acquisi- 
 tion of the Ring, — was the cause of the hero's 
 ruin. She sees, too, that only through the 
 sorrow occasioned by his treachery, has she 
 herself regained the wisdom, which she had 
 renounced so willingly for human love. Now 
 that same love, purified from all that is sensual 
 and selfish in human passion, has become a
 
 ACT III. 154 
 
 divine love, and an intense sympathy for suffer- 
 ing humanity. 
 
 Through her victory over the sorrow and 
 suffering, which she has had to bear, — the weight 
 of which would have crushed a less noble nature, 
 — Briinnhilde is enabled to accomplish the supreme 
 desire of the god; to wit, the redemption of the 
 world from the curse, beneath which it groans, 
 by the voluntary sacrifice of herself In the 
 consciousness of this she seems exalted even 
 above the gods. As she sends 02?ofan*g vatjens 
 home to him, with a message of peace, this 
 perfect calm also reigns in her own soul, now 
 freed from all earthly passion. 
 
 The predominant Motives of this scene, are 
 
 those of the Curse (22), of the Gold (6), of the 
 
 Ring (7), of Destiny (23), and of the Gods' 
 
 End (23a). 
 
 Taking the (Ring from Siegfried's 
 The Ring. . 
 
 finger, Briinnhilde now places it on 
 
 her own. The fire, which consumes her body, 
 
 will purify the Ring from the curse, and out of 
 
 her ashes, the Rhine-daughters will receive back 
 
 their Gold, which has caused such woe in the 
 
 world.
 
 155 GO TTE RDAMMF.R UNG. 
 
 BRUNNHILDE'S BEQUEST TO THE 
 WORLD. 
 
 Then she throws a lighted forc^ on to the 
 funeral pyre, with the words, — "Thus do I set 
 on fire ^Valhal^s splendid halls. But ye who 
 remain of the living race, hear what I proclaim 
 to you. When ye see Siegfried and Brunnhilde 
 consumed by the flames, and the Rhine-daughters 
 take back the Ring into the water's depths, look 
 northwards through the night, and know that 
 the red glow in the heavens, betokens Walhall's 
 end. — The race of gods passed away like a 
 breath : without a ruler I leave the world behind, 
 but I bequeath to it the treasure of my divine 
 wisdom ; — neither goods, nor gold ; neither divine 
 glory, nor lordly state . , . sublime in sorrow 
 and in joy, let Love reign alone ! " 
 
 These words are not sung in the drama, as 
 Wagner has composed no music for them. 
 Wagner's own explanation of this is found in 
 his Gesammelte Schriften u?id Dichiungeti, Band 
 vi. p. 256 (2nd ed.). He says " Their meaning
 
 ACT III. 156 
 
 is already expressed with the greatest distinctness, 
 in the effect produced by the musical sounds of 
 the drama." We must also remember, that, in 
 the first instance, Wagner wrote the Nibelungen 
 Ring as a poem, in which form it was originally 
 published, and for which he composed the music 
 at a later period. 
 
 LOVE'S REDEMPTION. 
 
 The horse, (^rane, is then brought 
 
 to Brlinnhilde, and once_rnore_the wild 
 
 Walkuren M otive (.-^8) i§_heard. But it gives 
 
 place to a calm, sweet melody, —played by the 
 
 flutes and violins, with a harp accompaniment, — 
 
 which rises high above all other conflicting ele 
 
 ments, and seems like a message of perfect peace ; 
 
 a full, deep breath of eternal freedom. It is the 
 
 Motive of feoue'e (]Ke^em|?tt01L(68X 
 
 ^^v-^mr^ —Now Brlinnhilde springs on to her 
 
 The Rhine- ^ ° 
 
 daughters, horse with the well-known Walkuren 
 
 Hagen. Cry (33), and gallops into the flames, 
 
 calling Siegfried's name. The ffame0 tower up, 
 
 high above the funeral pyre, and seem as if they
 
 157 GO TTERDAMMER UNG. 
 
 would fill the whole space ; but after a short 
 
 time, they die down again. As the smoke dears 
 
 away, those who are looking on see that the 
 
 njafere of t^e ^^XXKt have covered the ashes 
 
 of the pyre, 'fhc (R^ine;^aug^teV6 rise to the 
 
 surface of the waves. As he perceives them, 
 
 %t\,ZtXK, \\lio all this time has watched, and 
 
 listened to, Briinnhilde, with increasing agitation, 
 
 now springs into the water with a cry of, — " Back 
 
 from the Ring.'' 
 
 The Motive of the Curse (22) re- 
 The Ring. , , , • tt 
 
 sounds for the last time. Hagen is 
 
 seized by two of the Rhine-daughters, and dragged 
 down to the bottom of the river, while the third 
 holds the (Ring triumphantly aloft, to the accom- 
 paniment of the same joyous music, that we 
 heard in the beginning of "Rheingold." The 
 magnificent Walhall Theme (9) resounds for 
 the last time, as the red glow in the sky announces 
 the enb of t^e go^e. with the Motive of 
 the Gods' End (23a) and Siegfried's Motive 
 (39), the old world, so heavily laden with the 
 curse of passion and sin, passes away. Above 
 the waves, wherein the fatal Ring again rests, 
 gleams the dawn of a i)urer, brighter day; 
 and the reign of Love begins, as the Motive
 
 ACT III. 158 
 
 of Love's Redemption (68) floats higher and 
 higher, till the ethereal tones fade away into 
 silence, leaving in the heart of the listener a 
 sublime sense of perfect peace.
 
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 .^. 5
 
 INDEX. 
 
 
 PACK 
 
 PREFACE . . . 
 
 ix 
 
 ANALYTICAL INTRODUCTION . 
 
 xviii 
 
 The Main Idea . . . . . 
 
 » 
 
 The Races ....•■■ 
 
 xix 
 
 The Characters of the Races 
 
 >> 
 
 The Places . . . . ■ 
 
 XX 
 
 Dramatis Persons . . , ■ 
 
 xxi 
 
 Relationships . . . • • 
 
 xxii 
 
 The Zones of Action . . . . 
 
 xxiii 
 
 Impersonations . , . • • 
 
 ?> 
 
 Animals ...... 
 
 XXV 
 
 Elements ...... 
 
 >> 
 
 Symbols ,...■• 
 
 9? 
 
 Magic ,..••• 
 
 xxvi 
 
 THE ETHICAL EXEGESIS 
 The General Lessons 
 
 Cunning 
 
 Avarice 
 
 Cowardice 
 
 Courage 
 
 xxvu 
 
 178
 
 '79 
 
 INDEX 
 
 
 
 
 Thk 
 
 lAGE 
 
 Gkneral Lessons (continued) — 
 
 
 Ambition ..... xxviii 
 
 
 Power 
 
 
 •>■) 
 
 
 Disobedience 
 
 
 
 It 
 
 
 Suffering . 
 
 
 
 j> 
 
 
 Nature of a dod 
 
 
 
 xxix 
 
 
 Innocent Pleasure 
 
 
 
 )> 
 
 
 Nobility . 
 
 
 
 5> 
 
 
 Humanity 
 
 
 
 l> 
 
 
 Happiness 
 
 
 
 IJ 
 
 B. T 
 
 HE Individual Characters . . xxx 
 
 
 Wotan 
 
 
 
 » 
 
 
 Loge 
 
 
 
 xxxi 
 
 
 I.)onner 
 
 
 
 xxxii 
 
 
 Froh 
 
 
 
 )j 
 
 
 Fricka 
 
 
 
 >> 
 
 
 Freia 
 
 
 
 >> 
 
 
 Erda 
 
 
 
 xxxiii 
 
 
 The W'alsung Twins 
 
 
 
 )) 
 
 
 Siegfried . 
 
 
 
 , xxxiv 
 
 
 Cunther . 
 
 
 
 )) 
 
 
 Hunding . 
 
 
 
 XXXV 
 
 
 (julrune . 
 
 
 
 xxxvi 
 
 
 The Walkiiren 
 
 
 
 ^*
 
 
 INDEX. 
 
 180 
 
 The Individual Characters {contimted)— 
 
 PAGE 
 
 Briinnhilde 
 
 
 . xxxvii 
 
 Waltraute . 
 
 
 xxxviii 
 
 Fafner 
 
 
 )) 
 
 Fasolt 
 
 
 xxxix 
 
 Alberich . 
 
 
 >) 
 
 Mime 
 
 
 xl 
 
 Hagen 
 
 
 J) 
 
 The Rhine-daughters 
 
 xh 
 
 ■K- 
 
 * * 
 
 
 The Gold 
 
 • • t 
 
 55 
 
 The Ring. 
 
 . 
 
 xUi 
 
 The Tarnhelm . 
 
 xhii 
 
 The Sword 
 
 t • 1 
 
 xHv 
 
 The Spear 
 
 • • » 
 
 5» 
 
 * 
 
 M * 
 
 
 Walhall . 
 
 • • • r 
 
 xlv 
 
 t^t (R^ein^ofb. 
 
 The Main Ideas .... 
 The Overture .... 
 
 SCENE l._ . , . . 
 
 The Rhine-daughters at Flay . 
 The Eye of the Gold unsealed 
 Alberich steals the Gold 
 IS 
 
 4 
 
 55 
 
 7 
 8
 
 i8i 
 
 INDEX. 
 
 SCENE TI.— .... 
 
 Walhall, the Home of the Gods 
 The Advent of the (Hants 
 Loge's Story of his (keat Quest 
 A God's Descent to the Dwarfs 
 
 SCENE III.— .... 
 Nibelheim 
 
 Alberich seizes the Tarnhelm 
 Alberich's Rule in Nibelheim 
 Alberich trapped by the Tarnhelm 
 
 SCENE IV.— .... 
 On the Mountain Tops 
 Alberich curses the Ring 
 Erda before the assembled Gods 
 The Effect of the Curse 
 The Rainbow Bridge . 
 The Gods' Entry into Walhall 
 
 PAGE 
 
 lO 
 
 >> 
 J2 
 
 16 
 18 
 
 19 
 
 20 
 
 22 
 
 24 
 >j 
 
 25 
 27 
 28 
 29 
 
 30 
 
 e^e nramure. 
 
 The Main Ideas 
 The Overture 
 
 ACT I. 
 
 The Meeting of Twin-Souls 
 Mutual Confessions 
 
 33 
 34 
 
 35 
 
 >) 
 
 36
 
 INDEX. 
 
 1S2 
 
 ACT I. {continued)— 
 
 Hunding's Appearance 
 Siegmund's Story 
 Sieglinde's Signs . 
 The Love-Scene . 
 
 39 
 41 
 42 
 
 45 
 
 ACT II.— 
 The Prelude 
 
 Father and Daughter . 
 
 Fricka's Call for Vengeance 
 
 A God's Anguish 
 
 Erda's Prediction 
 
 The Flight of the Lovers 
 
 Briinnhilde's Mission . 
 
 The Walkiire's Compassion 
 
 The Rivals' Encounter 
 
 48 
 
 49 
 51 
 
 54 
 55 
 
 57 
 
 58 
 60 
 
 ACT III.— ..... 62 
 
 The Prelude 
 
 The Ride of the ^Valk^jren 
 
 Briinnhilde's Prophecy ... 64 
 
 Briinnhilde's Punishment . . 65 
 
 Briinnhilde's Justification . . 67 
 
 The God's Farewell to his Daughter 69
 
 1 83 
 
 INDEX. 
 
 ^tegfneb. 
 
 The Main Ideas . 
 The Overture . 
 
 ACT I.— ... 
 
 A Forest Home 
 Siegfried's Anger 
 Siegfried's Parents 
 Siegfried's Sole Inheritance 
 A God's Wanderings . 
 Mime's ^Visdom 
 A Lesson in Fear 
 Siegfried forges his Sword 
 Mime's Artifices 
 
 ACT 11,^ 
 The Tkelude 
 
 A Nocturnal Watch . 
 
 Daybreak . 
 
 Siegfried and Nature . 
 
 Siegfried and the Dragon 
 
 The Power of the Dragon's Blood 
 
 Mime's Evil Designs . 
 
 The Language of the Birds 
 
 i-AGE 
 
 73 
 74 
 
 75 
 » 
 
 77 
 79 
 8i 
 
 82 
 
 83 
 
 85 
 86 
 
 87 
 
 89 
 
 >> 
 
 >> 
 
 92 
 
 94 
 
 95 
 
 97 
 
 99 
 100
 
 INDEX. 
 
 184 
 
 ACT III.— ..... 
 
 The Prelude ..... 
 A God's Invocation to Nature 
 Wotan's Meeting with the Hero of 
 
 his Desire . 
 The Dawn of Love 
 Briinnhilde's Awakening 
 Briinnhilde's Bewilderment 
 Love's Victory . 
 
 PAGE 
 
 102 
 
 >» 
 
 104 
 106 
 108 
 
 no 
 
 112 
 
 (Kbtterbdtnnterung. 
 
 The Main Ideas . 
 The Overture . 
 
 ACT I. 
 
 The Thread of Destiny breaks 
 
 A Perfect Pair . 
 
 Farewell .... 
 
 Hagen's Intrigues 
 
 The Draught of Oblivion 
 
 The Tie of Friendship 
 
 A Warning 
 
 Sorrow and Fear reign in Walhall 
 
 Base Treachery , 
 
 The Betrayal of Love . 
 
 IIS 
 
 116 
 
 117 
 
 II 
 
 118 
 
 119 
 
 121 
 
 123 
 
 124 
 
 126 
 
 127 
 
 I 29 
 
 • 131
 
 '85 
 
 INDEX. 
 
 ACT II. - .... 
 
 The Prelude .... 
 
 The Nibelung's Plots of Revenge 
 
 Briinnhilde's Passion 
 
 Siegfried's Oath . 
 
 Hagen's Triumph 
 
 Plot for the Hero's Death . 
 
 ACT III.— .... 
 
 The Prelude .... 
 
 Warning Voices . 
 
 The Story of Siegfried's Youth 
 
 The Hero's Death 
 
 In Memoriani 
 
 The Return from the CJhase . 
 
 Briinnhilde's Triumph over Passion 
 
 Brunnhilde's Becjuest to the World 
 
 Love's Redemption 
 
 MOTIVES— .... 
 
 PAGE 
 
 )» 
 
 138 
 
 146 
 
 147 
 
 149 
 
 153 
 
 PRINTED BV 
 MORRISON AND GIHI> LIMITED, EDINBURGH
 
 LONDON: 
 
 SIMPKIN & Co. Ltd. I NOVELLO & Co. Ltd. 
 
 PHILADELPHIA: 
 
 J. B. LIPPINCOTT COMPANY. 
 
 Zbc lEpic of Sounb6. 
 
 By FREDA WINWORTH. 
 
 Tke Musical Times. — " It may truly be designated a Primer on 
 the Ring, so concisely and clearly does our authoress tell the whole 
 story of Wagner's wonderful creation. It is just the kind of r6sum6 
 that Wagnerian pilgrims should put into their pockets ; and those 
 who stay at home will derive much information from Miss 
 Winworth's succinct and lucid account of a complex work." 
 
 The T/w«.— "The analytical introduction . . . is clever." 
 
 Literature. — "Infinitely more valuable than the commonplace 
 translations." 
 
 The Illustrated London Neivs. — "To be appreciated in the 
 smallest way, Wagner must be studied in advance ; and this little 
 book, beautifully printed and cleverly arranged, is just the thing." 
 
 The Queeti. — " It is a most complicated drama, and cannot be 
 . . . understood without . . . study. For this purpose the present 
 handy little work is admirably suited." 
 
 The Sketch. — "I would advise everybody who has Bayreuth m 
 his eye to study . . . ' The Epic of Sounds.' " 
 
 The Musician. — " Thorough." 
 
 Th; A'ew Age. — "An excellent piece of work." 
 
 I'he Pall Mall Gazette. — "Most useful to one who wishes to 
 really understand these great orchestras." 
 
 The Speaker. — " Remarkably lucid exposition of the whole 
 drama." 
 
 Hearth and Home. — "Clear, concise, and accurate. ... A 
 simple yet complete picture of the complicated scheme of the 
 ' Ring.' ... A child could comprehend it, and it cannot fail to be 
 of the greatest utility to those who would listen to these matchless 
 operas with an understanding ear. . . . Far and away the best 
 book of the kind. ' 
 
 [P.T.O.
 
 Xlbe BpiC of Sown^B— continued. 
 
 Magazine of Art. — "To its readers the ' Nibelungen Ring' 
 will no longer be, what it remains to many, a musical mystery." 
 
 Scotsntan. — "A well-written and luminous narrative. . . . 
 Contains in little bulk all that is necessary for a clear understanding 
 of Wagner's conceptions and methods." 
 
 Das Tif/^o (Berlin).— "^Einhochst interessantes Buch, fiir das ein 
 wirldiches Gegenstiick in deutscher Sprache noch nicht e.xistiert 
 . . . Giebt . . . einen Lcitfaden, der in hochst anregender und 
 fesselnder Weise das Verstiindniss fiir das grosse Tongemalde 
 des verewigten Meisters erleichtert und das Intercssc auch bei 
 musikalisch weniger veranlagtcn Personcn wachiuft." 
 
 Westminster J?evic7v.—' ' A very careful and intelligent interpreta- 
 tion of Wagner's ' Nibelungen Ring.' . . . Deserves to be read by 
 persons of literary and persons of musical tastes." 
 
 Army and Navy Gazette. — "Shows a competent knowledge of 
 the wonderful mythology . . . with a proper degree of musical 
 insight. " 
 
 Black and IV/iite.—" 'Vhc dramas are traced step by step and 
 interpreted in a manner that cannot but be of utility and help." 
 
 Book fFo;-/rf.— "Succeeds in a superlatively intelligent manner 
 in placing before the intending student of the play an analysis that 
 enables him to fully understand Wagner as a musician and Wagner 
 as a poet." 
 
 Western Morning Ne7vs.— "A masterly analysis of the famous 
 work. 
 
 Bristol Mercury. — "The volume contains all that a would-be 
 appreciative Wagnerile could desire." 
 
 Yorkshire Post. — " Must have taken a world of pains to com- 
 pile." 
 
 Weekly Echo and Times.— " An almost indispensable work to 
 those who wish to understand the music, text, and plot of Wagner's 
 great tetralogy." 
 
 Methodist Times. — "Those desirous of equipping themselves for 
 the fuller enjoyment of the coming performances of Wagner's 
 ' Nibelungen Ring,' and all, indeed, who wish to come to a fuller 
 understanding of that monumental work, will find a most helpful 
 handbook in ' The I'-pic of Sounds,' by Freda Winworlh."
 
 University of California Library 
 Los Angeles 
 
 This book is DUE on the last date stamped below. 
 
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 MAR 2 8 200B 
 
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 1995 
 
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