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Table of Contents

Title Page
Dedication Page
General Table of Contents
Acknowledgments
Abbreviations for key references
Guide to abbreviations used in text
Allen Dunning's numbered Guide to the Ring's Musical Motifs
Detailed Table of Contents

The Ring

Introduction


References
Appendix I
Appendix I I

Key Colour Coding

Donations Welcome

I would be grateful for donations of any size, small or large, to help defray the cost (1) of maintaining this website, (2) and to finance my past and present research which produced my book posted here, Volume One of "The Wound That Will Never Heal," and my forthcoming revision of Volume One (to be submitted for publication), and completion of Volume Two on Wagner's six other canonic operas and music-dramas. I sacrificed at least seven years of paid employment and incurred debts to complete this project, and am currently unemployed, so I thank you in advance for any financial help you can provide. Your friend, Paul Heise.

The Valkyrie

[[#60]] Wotan’s “Storm” of “Noth” (anguish)

Wotan the Wild Huntsman's “Storm” of "Noth," which he sets in motion to test his son Siegmund’s heroism and independence

(#60 Based on #21's embryo and #32b, and influenced perhaps by #14; basis of #62; related to #28, #81ab, part of #83, related to #96ab, #137, #164, and possibly #115; inversion related to #47 and #82)

[[#61]] “Lightning” from Wotan's Storm of "Noth"

(#61 based on #55; may influence #79; possible influence on #84 and #85)

[[#62]] “Siegmund” the Waelsung – scion of Wotan

Siegmund as Wotan’s unwitting instrument of redemption, rebel against the ego-driven social order which Wotan – collective, historical man – has founded

(#62 based on #60 slowed down, which is based in turn on #21's Embryo; related through #21 to #28, #32b, #81ab, part of #83 based on #81; #96ab, #137, #164, and possibly #115; inversion related to #47 and #82)

[[#63]] “Sieglinde”

Sieglinde, the embodiment of sympathy for her long-lost twin-brother Siegmund’s “Noth”

(#63’s motival links, if any, not yet ascertained; however, Dunning notes that Sieglinde’s Motif #63 contains some Ring (#19) harmony, and may be a loose inversion of the entire Ring Motif (#19). If this is so, and it is not a mere coincidence, but instead, intentional, this would have very curious musico-dramatic consequences)