/ 3reEa , ^ .-» p r q -.- ,-; A fit; ; .:^j(mW^Ww 7 Tjii., ■ '’>'.v^v'.i.C-'.‘ ’''•,=.5-* '■ '■■ •■ .'■■v ?* ■'■ ■ •■; . 5‘i'i(!' -i ^ i’v/ •■-' " , "V-^;i;^K■ A ♦ i. •' .- ■ ^ A-*'}- *v ;■'*!«•■ ■ ' :^is y^'■ ** .{%/ « ^ifo ••>';■ .» • ■■.• i , r t"- * S i-- ; \»-tv : A..: ■' 4 ^' ■.‘jA •• '» * t u ^•’■: . e3;^ ' ' .'■ . . ' '‘■t,. ■ -t'f K ' ■ ' ■r: f, 4 .*» ♦ - ^ 11' V ' *■' -' .'{v ■T4 ■ ■»• • 'I*.'.' ,. .4-v " ‘V. 4 .« f f \ **« _ * ■• » i Jk,* ■<» Jj- ^ '♦'■*1’; ■.> ,' •■■. ^ ■.:c ’ ' ■;■ ;*•■ 'A ' '■ % IT . ^ * y K \AA’' ^ A/ A. • ' ^ i. * • \ » ' ',■' •■, r- k. .1 **1 ■••' - ‘‘ ■ w;>‘ ^ ■ Vv. ■ (<■ 4 . • ir »'* <1 » ^ ^ :-\i - i* „ ' * . (' 4 r^v ■■i-'' f. ■ f \ '■ ^ ‘ # t I. , -Sfc * h 4“-' k ■ • ' * + <•■;., ,• AT a 3 •■ ' ■ -M:i^ ><>• OP/N/OMS ABOUT THIS BOOK. ■f Frotn Professor Ebenezer Prout, B.A., Mus.D. of Dublin University, and of the Guildhall 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 Bayreuth 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.” Prom Walter Damrosch, Esq., the leading exponent of I Wagne^^^^iji the United States. —‘‘Perhaps the cleverest analysis of the Nibelunge/ tetralogy that has been published, and will be a great help rto students. . . , The classifications are very original, but so simple that a child could understand them.” —♦— For Press Notices see end of Vohune. Digitized by the Internet Archive in 2019 with funding from Getty Research Institute \ https://archive.org/details/epicofsoundselemOOwinw tibe ]£pic of Sounbs. fourth thousand. Zhe Epic of Sounbs. AN ELEMENTARY INTERPRETATION OF WAgncr’e QXtBefungen (King, BY FREDA WINWORTH. lionbon: SIMPKIN & Co. Ltd. | NOVELLO & Co. Ltd. PHILADELPHIA : J. B. I.IPPINCOTT COMPANY. %cxvn ^tesfrieb ^asner THIS LITTLE WORK IS RESPECTFULLY DEDICATED {with ihe gracious consent of Frau Cosima Wagner). TABLE OF CONTENTS. Preface .... PAGE ix Analytical Introduction xviii Note to the Reader I The Nibelungen Ring— I. The Rheingold 3 2. The Walkure . 33 3. Siegfried 73 4. Gotterdammerung 115 The Motives »59 Index , . . . 00 VI 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 1898. Vll “ Through the deep caves of thought I hear a voice that sings." Oliver Wendell Holmes. « ■)* -it ‘‘ O glad, exrdting, cidviinating song." Walt Whitman. '7ro'hv(p'koiaiSoi/, 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, 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 IX X FREFA CE. field, which has already 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 Wagner representations at Bayreuth and Munich, I found that disappointment 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 Wagner 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 narra- Xll PREFACE. tive, 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 Muller, 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. Xlll 1 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 conseouent 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 adequate opportunity of judging him for themselves. I 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 Wagner, 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 B. 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 XVI PREFACE. almost unavoidable in the endeavour to make clear the general plot, and the various relations and significances of persons 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 Bayreuth, for her gracious permission to tell the story: then, once more, to PREFACE. xvii Herrn B. 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 Bibliotheque Nationale at Paris, for placing the literature of the subject at my disposal: and to M. Wekerlin, the chief librarian of the Conservatoire de Musique in Paris, for allowing me to consult the orchestra score. London, May 1897. 2 OtAtn 3bea of QltBefuttgon QRtttg. The contrast of the two Powers which rule the world;—the Power of Love and the Power of Gold. xviii 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. A.nd at a later stage (by subsequent creation) of two other Races, viz.. The Walkuren ; The Heroes and Heroines. THE CHARACTERS OF THESE RACES. 1. (Bobs Are the noblest and highest race. 2. (Bianfs Have strength. But lack cunning. They hate what is pure and noble, And are hostile towards the gods. . (TtiBefunsen, or ©njarfis Are very cunning. They hate what is pui'e and noble. And are bitterly hostile towards the gods. XIX XX ANALYTICAL LNTRODUCTION {Their work is to fashion into shape the gold, which they find in the bowels of the earth. }■ 4 - Are 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. 5- Cgc orafmiren Are warlike, brave, and compassionate. 6- Zeroes anb ^erotnes Are of two classes. a. Those, who are of directly divine origin. Are noble, pure, and brave. 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. Walhall is inhabited by the Walkliren. The Earth is inhabited by the Heroes and Heroines. ni?affturen. ANALYTICAL INTRODUCTION XXI DRAMATIS PERSONAL. (BobjS. Wot AN, the first of the gods. Loge, the god of Fire. Donner, the god of Thunder. Froh, the god of Joy. (Bobbes0e0. Fricka, the goddess of Marriage. J P I Freia, the goddess of Love. i Erda, the goddess of the Eartli, %tXOtQ, SlEGMUND, Siegfried, Gunther, H UNDING, ^of divine origin. [ of mortal origin. %evotntB. SiEGLiNDE, of divine origin. Gutrune, of mortal origin. /'Brunnhilde, Waltraute, Gerhilde, Ortlinde, Schwertleite, Helmwige, SlEGRUNE, Grimgerde, Rossv/eisse, " of divine origin. Fafner. Fasolt. xxii ANALYTICAL LNTRODUCTION, (Jttfiefungen. • { Alberich. •fc «-! Mime. ® I^A Chorus of Dwarfs. Hagen. Flosshilde. WOGLINDE. Wellgunde. i^rce (JtornB. ^^otruB of (Bunf^etr'fi (Passafs. (Buftune'e Q.ftcnbanfe. RELATIONSHIPS. ( m . = marriage . i . — issue ,) rFRiCKA (his first and lawful wife). 'Wioes u . ixMK . v ^. Mortal Woman. ^Brunnhilde (by Erda). n27ofau^0 I The Rest of the Walkuren. 1 The Walsung Twins (by a ^ Woman). <^rba'0 /Brunnhilde. ^^tfbren. t The Three Norns. n3?af0un0 I SlEGMUND. Cn)in0. ISlEGLINDE. p, JHunding (her lawful husband), ^tegitnoe. (Sjegmund (her brother and lover). ^tegmunb. | Siegfried. ^tegttnbe. ) a .. - V (i'/v. Brunnhilde. ^ie0fneb. - ^ ( w . Gutrune. Mortal ANALYTICAL INTRODUCTION, xxiii •• Siegfried. QBrunnetfbe. gunther £ 3-k IS S QB;rof^erB. © I I { Alberich. Mime. - 1 Q^rof^etr /'Gunther, anb f Fafner. Fasolt. ^ Gutrune. Alberich. z . Hagen. Hagen is half-brother to Gunther and Gutrune. THE ZONES OF ACTION. Walk ALL, 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. Scifner. Weakmindedness. it * * Hate. xxiv ANALYTICAL LNTRODUCTION Treachery. Deceit. Cunning. Cruelty. Intrigue. Cowardice. Instability. * Fear. Anger. Anxiety. Desire. Ambition. Power. Strength. Courage. Justice. Youth. Joy. Confidence. Artlessness. Sorrow. Despair. Tenderness. Calm. Resignation. Wisdom. Foresight. @f6enc3t (Vntme, anb Igagen. (ITItme cinb Boge. (Vptme. ^tesfneb. ^ n2?ofan. ^ofan anb Q^riinnBtfbe. ^ofan. (Bufrune. * * ^iegfneb, anb ^oian anb ^tesfneb. ^te^fneb anb 0^f6encB. HTofan. •r * Sreia. SroB. (. * * (iBrunnBt^’be anb (BnnfB^t^- L -Jf- # Q^riinnBit’bet ^tegmunb, anb ftnbe. ^39o^an. ^ofan. OTofan. '^ofan. It * * (Srba anb QSritnnBtBbe. (Brba anb Q§ninnBiBbe. ANALYTICAL INTRODUCTION, xxv Love. Q^trunn^tfbet ^^0munb? anb ^tegftnbe. Compassion. Q^jtriinn^tfbe. Self-Sacrifice. QiSrUnn^tfbe. ANIMALS. The Horse (Grane). The Birds. (a) The Singing Bird. ( d ) The Ravens. Tpie Dragon. The Toad. The Bear. THE ELEMENTS AND THEIR IMPERSONATIONS. Light. Darkness. Earth. Air (Storm) Fire. Water. ( a ) Gold. { l >) Steel. ^ uia . (]tt6efun0en. (Brba. /©onnet. nSJaf^iiren. ;Eo0e. (]R^tne?bau0^fers. (Htn0 anb f^e (3ttHefun0en treasure. ^worb. SYMBOLS. Ring, the Symbol of Tarnhelm, the Symbol of ^cCtif. Sword, the Symbol of Spear, the Symbol of n27o^an''s (^uf^onfg. Draught of Oblivion, the Symbol of 3n0fa6tftfj>. Rope of the Norns, the Symbol of of ©eefing. xxvi ANALYTICAL LNTRODUCTION 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. Courage. Cowarbtce. (^tjartce. Cunning. ANALYTICAL INTRODUCTION, XXVI1 TPIE ETHICAL EXEGESIS OF THE NIBELUNGEN RING. A. The General Lessons AND Their Allotment to Individual Characters. The contemptibility of cunning ; exemplified by (^fBertC^t anb (Wtme. The likelihood that cunning will overreach and betray itself; exemplified by @:f6ertc3t 6agen, anb (ttlime. The incompatibility of the lust of gain with true pleasure ; exemplified by ^-fBertC^. The contemptibility of cowardice; exemplified by Q^im^. Courage not always inconsistent with the pursuance of evil; exemplified by ^uffermg. ©teoBebience. ^onjer. QlmBifton. xxviii ANALYTICAL INTRODUCTLON The incompatibility of the desire for fame with love; exemplified by ^tesfneb. The temptation to become tyrannical, which the possession of power offers ; exemplified by (^fBenc^. Fear engendered by the lust of power; exemplified by HTofan. The lust of power is its own perdition; exemplified by ^ofan, gagen, anb (JJlime, The incompatibility of the lust of power with love; exemplified by (^fBenc^, Safnert anb n3?ofan. The incompatibility of the lust of power with true pleasure; exemplified by (3^f6encB cinb HXiofan. The inevitable punishment of filial disobedience ; exempli¬ fied by ^ninn^tfbe. The egoism and blindness of human love, when untried by suffering ; exemplified by Q^riiUU^tfbe. Love sometimes engendered by suffering in common ; ex¬ emplified by ^tegmunb anb ^tegfinbe. The purification of love through suffering; exemplified by Q^riinn^tfbe. Knowledge and wisdom only acquired through sorrow and suffering; exemplified by Q^runn^irbe. J^apptncBB, %umanti^. (TtoBtftfg. 3nnocenf :|jfea6ure. nature of a go5. ANALYJ'ICAL INTRODUCTION, xxix Even gods are bound by their own laws; exemplified by •^ofan. The conflict of duty and tenderness in the parental heart of a god ; exemplified by f^otan. The possibility of an innocent enjoyment of gold; ex¬ emplified by the lyi^intf'baUQ^itXB. A pure and noble nature’s incapacity of suspecting deceit and untruth in others; exemplified by Q^riinn^tfbe. Compassion for the sorrows of others is the essence of true humanity ; exemplified by Q^runn^ifbe. True happiness only attained by the complete and volun¬ tary sacrifice of self, for the good of others ; exempli¬ fied by Q^runu^if^e. * XXX yiNALYTICAL INTRODUCTION. B. The Individual Characters IN Their Illustrative Development. ^ofan. The Impersonation of the ®uman HTiff. The type of the highest humanity, where, on its volitional side, it merges into the divine. Though the chief of the gods, he has 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 fight 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. Me sets established 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. :Eo5e. The impersonation of 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 IN'TRODUCTLON ©onner. The god of ^^tinbetr. His character is blustering and violent. Master of the atmosphere, he clears away the storm clouds ; And provides a beautiful entrance to the gods’ dwelling. The God of 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. Srtcfia. The representative of (Vnoraf mb She protects those who suffer by a breach of this law. Her 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 suffer 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. Sma. The Goddess of attb 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 (^rba. The Impersonation of the All the secrets of Nature and Destiny are known to her: But she has no power to change either the one or the other. Her 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: But her wisdom and foresight vanish before the power of Wotan’s Will; And at his bidding she sinks again into eternal sleep. OrafBun0 ^mrxB. Two Beings predestined for each other by 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 sympathy is inevitable ; And in mutual 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. o xxxiv ANALYTICAL INTRODUCTION The sympathy of one compassionate heart (Brlinnhilde’s) cannot protect them; And the punishment of their offence is separation and deatli, ^tegfneb. The Type of a ^CVO. The offspring of a symbolic union, and born in the 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. (Buni^cr, The Personification of QJlotraf nreaSnesB. 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 irresolute, 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 the 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. Jwnbtns. The type of a rough, hard, though brave. 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 (Bufrutte. A type of Semtntne She is weak, amiable, and easily led. More ambitious than 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 hiunani generis est odisse quern laeseris'”). Only when the consequences of evil-doing are irrevoc¬ able, does she realise the effects of her own action. In vain she 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. tU ^afguren. The Embodiment of ^CXOIC Their nature is wild, free, and joyous as the elements, through which they ride. Their mission is, to war against the power of evil; To protect noble and brave heroes ; And to bring them, after death, to the halls of Walhall. But the warlike element of their nature excludes all humaner feelings ; And, except Briinnhilde, they all perish under the curse, from which love alone can save. ANALYTICAL INTRODUCTION, xxxvii N.B. — Wa^—Field of Battle. JIuren = to chose. The Walkuren are those, who bring to Walhall the heroes chosen by Wotan, after they have been slain on the battlefield. * * * Q^runn^tfbe. The Impersonation of 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 comoassion for the sorrow of others ends the con- L flict in her breast. Becoming afi'ected 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 INTRODUCTION. But her perfect confidence and affection are ruthlessly betrayed. Her noble simplicity and innocence make 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. ^aWraufe. One of the ^afftUtren. She ranks next to Brilnnhilde 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. Her errand fails, and she returns, to perish in the con¬ flagration of Walhall. Safneje. A Type of cirtb (Utoraf 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 the 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) within 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. Sasoffv 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 (Soif. Pie is resolute, defiant, and undaunted in his pursuit of it. His character combines tlie 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 INTRODUCTLON 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. (Uttme. The Personification of 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 the child ignorant of its origin, Till forced to reveal the truth. Being too weak to obtain what he desires by force. Pie resorts to underhand means, and deception. He defeats his own ends, however ; And meets with the fate, which he had intended for another. ®agen. The Personification of 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. AJVAL VTICAL INTROD UCTION. xli His nature is gloomy, 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 Wafers of 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 efforts to regain the Gold, are all of no avail. Till a power greater than that of Nature (Brlinnhilde) restores it to them ; And its brilliancy again brightens the waters, and re¬ joices their hearts. They punish with death him (Hagen), who would rob them of it a second time. * « » tge (Bofb. a . The Rhine Gold. In its natural state, it is guarded by the waters of the Rhine ; xlii ANALYTICAL INITODUCTION. 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 possession into Wotan’s; And forms a part of Freia’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. (Ktn0. The Symbol of (bmntpoitnU. Made by Alberich from the Gold in the Rhine (v. 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 with 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, falls a victim to its curse. In the hands of youthful purity and innocence (Siegfried and Brunnhilde) 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 (Brunnhilde); 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. The Symbol of It enables its owner to become invisible ; Or to assume any form he pleases. It is the product of a sly and treaclierous 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 Brunnhilde. xliv AATAL YTICAL INTR OD UCTION, A Symbol of 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 Walkilre’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 (Gunther). After his fall, Siegfried no longer makes any use of it. * 'X * N.B .—In 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. 4fr * * The Symbol of Wotan’s 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. * * * TSafgaff. 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 (Brlinnhilde), 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 I^ove. * * * N.B. —“Walhall” signifies the hall of the heroes slain in battle. Wal = Battlefield. NOTE TO THE READER. For the purpose of facilitating the readers and spectator's task., indents have been made here and there at the side of the text., to Eidicate the FIRST ENTRANCE, Or the REAPPEARANCE, OF PERSONS on the sce7ie; also where the first MENTION IS MADE OF ANY IMPORTANT SYMBOL, —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, further emphasised in the text by the use of The safne type is some¬ times e7nployed to draw attention to the appear¬ ance OR MENTION OF A PERSON OR THING, where no i7ide7it occurs. The HEADINGS which appear in the text have bee7i introduced in order to indicate briefly the CHIEF SCENES AND INCIDENTS of the dra77ia, with the object of re7idering the general scheme NOTE TO THE READER. 2 as clear and comprehensible as possible^ a 7 id of preparing the spectator for what he is to see next. The names of motives, where they first OCCUR, appear in in the text: THEIR RECURRENCE is sJiown by their names appearing in small capitals ; and each motive is separately na^ned and numbered, both in the text and on the pages (159-176) of music, which follow the narrative. The ^lumbers 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 7 ne to be more appropriate. I a 7 n not altogether without hope, that the arrangement of the types, the general plan and the size of this vohune may render it a handy, portable guide, not only to the reader at home, hut also to the spectator of a perfornia 7 ice in the theatre. (Wdtrt of QR^etngofb. Base love of Gold destroys golden Love, and leads Along a path of Cunning to a hunt after overrated Power. ^Tbe IRbeingolb. * T H ?: ^^O^RTORE , In this wonderful beginning of, perhaps, the most powerful of Richard Wagner’s creations, this grand . T^tJ^ogy, which contains the tragedy of human existence, we are first of all introduced to the 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 ^^ 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 (j^nmeuaf (Efemen^i). SCENE 1 . ^ ■ 4 :- * THE RHINE-DAUGHTERS AT PLAY, Now the curtain is lifted, and the scene before us represents the fioffom of (R^tue, 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 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 (Raine; ^aug^fei*0. 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 (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 appears, in the person of the dwarf 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 Jmpofence (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 ( 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 trembling movement on the violins is like the shimmer of gold in quivering sunshine. And now, on the horns, resounds the Motive of the (Bofii ( 5 ); 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 (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 (7) descends and remounts the scale in thirds. This motive is one of great significance in the drama. Equally significant is the Motive of ( 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 which lies on the summit 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 11 . * * ■;<- WALHALL, 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 (9)5 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. the open space in the foreground Fricka. the first of thp gods, and his wife, asleep. Between them and flows the (R@ine» THE RHEINGOLD. 11 Fricka, on opening her eyes, perceives the castle, and calls to Wotan 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 ^oian's (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 IL 12 never earnestly contemplated the sacrifice in question, and that he relies on Logo’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 (ii)> announces 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 (Bianfs (12). THE AERIVAL 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 Scifuct* and Scv0off enter, and demand from Wotan the reward of their work. On the god’s refusal to give up Freia, 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 xVpples. two 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 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 (Bof^en (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. d he Giants at length attempt to drag Froh. Freia away by force, when ^oUUCt and arrive on the scene; and Donner, the Thunder-God, raises his hammer to strike the Giants. Wotan interposes his spear between Loge. . , . . the combatants, and, just at this junc¬ ture, &oge arrives. The music accompanying his entrance, as it runs up and down on the violoncellos, and flickers like flames, characterises SCENE IT. T4 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 Logo’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 feotje (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 Logo’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 JL i6 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 off 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 (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 ®arSne00 (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 CODE DESCENT TO THE DIVA EES. With sudden determination, Wotan resolves to take from Alberich the Gold, with which to buy 17 THE RHEINGOLD. back eternal youth. He disappears with Loge, amid flames, into a cleft in the rock, in order to descend to 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. i8 SCENE TIL * * * NIBELHEIM. Alberich. The third scene opens in Mime, the home of the Nibelungen, 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. The QtifiefuHgen 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, Tarnhelm. @f6enc^ emerges from one of the openings in the rock, dragging by the ear the dwarf, 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 ^ cap of wonderful, 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 (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. ALEE RICH SEIZES THE TARNHEIM. Mime has put all his cunning skill into this Tarnhelm, which Alberich, 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 him, and enter. 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 Nibelung race. Loge comforts Mime with promises of help. ALBERICH^S R ULE IN NIBEIHEIM. now re-enters the scene, armed with a whip, and driving before him a crowd of fuugcn, 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 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 (^f6enc^’0 Zriutnp^ (18). 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 Loge 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 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 ^xt(K^\XXt (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 Iir, 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 and changes into a snake-like Then this creature crosses the stage, to the accompaniment, on the brass instruments, of the Motive of the (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 fotvb, 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 RHEINGOLD, symbol is transferred, 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 as at the com¬ mencement of the second scene. SCENE IV. 24 SCENE IV. ON THE MOUNTAIN-TOPS. ^otan anb &oge set their prisoner down on a rock. Loge answers ^f6ertc^’0 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 (Ring, to call up from their underground homes the (Uifiefungen, who bring with them the ^rea0ure. 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 hy force; and with a cry of “Woe is me, the most sorrowful slave of the sorrowful,” Alherich sinks into an attitude of ahject misery. We hear again the significant Motive of Renunciation (8). The sinister, syncopated passages, on the clarionets and violoncellos, which follow, form the Motive of (^f6enc^’0 (Hetjenge ( 21 ); we are thus shown, that sorrow for his loss is immediately followed hy desire for revenge. A LEE RICH CURSES THE RING. Wotan then bids Loge loose the Nibelung’s bonds. When he finds that he is free, Alherich 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 cut0e» 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 ( 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. other gods reappear on the scene. We hear the Motive of the Giants (12) as they come from afar, bringing with them. At her approach the air seems lighter. Freia. ready for the (gianf0 Fafner. as they enter. The gentler natured Fasolt. 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 has to be added to the gold: but still Freia’s bright glance is seen through a crevice. To stop this up, §afnet demands the Ring, which he sees on Wotan’s « finger. But 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 the 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 ALotive of (23). 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. This major is the Motive of the fton of f(Bobe (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 (ging 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. Walhall. cudgel brings him 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. SttcSa then draws his attention to 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 Donner 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 ^form (24)5 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 (gainfioit) spans the (R^ine, from the shore on which the gods stand to 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 (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 GODN 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 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 RHEINGOLD. 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, 3be