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The Ring of the Nibelung
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through #53's last three notes to the set of heroic motifs which include #71, #77, #88, #92, #95, and perhaps #152)

 

“Wotan: (#20a modulation or #20b?) In the evening light the sun’s eye gleams; in its glittering glow (#20a?) the stronghold shines resplendent: (#20b?) glinting bravely in the morning light, (#20c) it still lay lordless and (#20d) nobly alluring before me. (#19) From morn until evening in toil and anguish [“Angst”] it wasn’t happily won! (#57 Embryo?) Night draws on: from its envious [“Neid”] sway may it offer shelter now. ([[ #57ab ]] Very resolutely, as though seized by a grandiose idea: [[ #58a ]] Thus I salute the stronghold, [[ #58b ]] safe from dread and dismay. ([[ #57ab ]]: He turns solemnly to Fricka) (#20d) Follow me, wife: in Valhalla [Walhall] dwell with me! (#20a)

 

Fricka: (#20a) What meaning lies in the name? Never, I think, have I heard it before.

 

Wotan: (#20a?) What, mastering fear, my mind conceived, shall reveal its sense if it lives victorious [“Was, maechtig der Furcht mein Muth mir erfand, wenn siegend es lebt – leg’ es den Sinn dir dar!” – a possible alternative reading might be that Wotan’s fear inspired his courage, or his mind, or gave them the power, to conceive something?]! (He takes Fricka by the hand and moves slowly with her towards the bridge; Froh, Freia, and Donner follow.)”

 

[image]

[[#58ab]] Valhalla as religious man’s refuge from dread and dismay in the face of truth

Wotan’s Waelsung heroes are Siegmund, Wagner’s idea of a moral hero, and Siegmund’s son Siegfried, Wagner’s metaphor for an artist-hero (such as Wagner himself). Wotan hopes that these heroes, wielding his sword (later christened by Siegmund: Nothung), will preserve Valhalla, man’s heritage of religious illusion, from the truth.

(#58a’s motival links, if any, not yet ascertained; #58b basis of #79)

[See #57 for #58’s dramatic context]


[image]

[[#59abc]] The Rhinedaughters’ first lament for the lost Rhinegold

 

Nature’s lament for the innocence that has been lost through man’s natural acquisition of the power of conscious thought, a basis for man’s longing to restore lost innocence in musical feeling

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