motives, can’t do]; and from this his natural inclination towards the younger, the more buoyant man – so soon as the latter took up with willing enthusiasm the poetic-aim imparted to him by the older [Siegfried inherits Alberich’s Hoard, Tarnhelm, and Ring, and Wotan’s Hoard of knowledge] – there would bloom that fairest , noblest Love, which we have learnt to recognise as the enabling force of Art-work. (…) Through this bent, incited in another, the Poet himself would win an ever waxing warmth toward his begettal, which must needs determine him to the helpfulest [P. 356] interest in the birth itself [i.e., Wotan’s interest in bringing his free hero Siegfried to birth, without actively interfering to secure it].” [554W-{50-1/51} Opera and Drama: PW Vol. II, p. 355-356]
Here we can read the older, experienced poet as Wotan, and read Siegfried as the younger musician (i.e., composer), who according to Wagner is closer to life’s instinctuality (which I noted earlier is represented by the Rhinedaughters), and therefore more suited to realize the poet’s (Wotan’s) aim. What Wagner is speaking of here, of course, is his own art, the music drama, and the fact that it is according to him a synthesis of conscious thought, which produces the poetic-drama, the poetic aim if you will, the programme which is the seed of inspiration for the form which music will take, and music, which is the language of the unconscious, of the heart, of feeling, represented here by Bruennhilde. Wotan, of course, planted his aim in his own unconscious mind Bruennhilde when he confessed his need for a free hero who would do the deed which Wotan cannot do, but which must be done if the gods are to be redeemed from a shameful end. Wagner adds that the poet (Wotan) takes the highest interest in art’s birth (i.e., the redemptive love shared by Siegfried and his muse Bruennhilde). It was for this reason that Wotan allowed himself to be persuaded by Bruennhilde to make a protective ring of fire around her sleeping body, in spite of his insistence he no longer cared about Bruennhilde’s fate, so that only the free hero Wotan had longed for, Siegfried, can wake and win her. Siegfried will unconsciously yet spontaneously embrace Wotan’s poetic aim, which Wotan imparted to Bruennhilde in his confession, once Siegfried wakes his muse Bruennhilde, because in winning her Siegfried will fall heir to the hoard of knowledge Wotan imparted to her.
[S.2.1: F]
But Alberich is still skeptical. After all, how could it be the case that Wotan now fears Alberich so little that he won’t interfere to insure Alberich doesn’t win the Ring power back? Wotan nonchalantly tells Alberich that, in effect, whoever wins it, wins it. But just in case Alberich has lost his confidence, Wotan suggests that Wotan wake up Fafner to inquire whether Fafner would agree to give Alberich his ring to thank Alberich for warning Fafner that he risks death in the coming fight with Siegfried. Accordingly, and to Alberich’s bemused surprise, Wotan wakes Fafner to interrogate him:
Alberich: And yet I might not win it? (#101 frag)
Wotan: (calmly coming closer) A hero draws near to rescue the hoard; two Nibelungs covet the gold: (#48:) Fafner will fall as he guards the ring (:#48): - he who snatches it will have won it. – (#48?:) What more do you want? There lies the dragon (:#48?): (He turns to the cave: #126a:) if
