blessed pair (:#63voc?)! (#111:) Parted (:#111) – (#149:; #150?:) who would divide us (:#149; :#150?)? (#111:) Divided (:#111) – (#150:) they’ll never part (:#150)! (#57 vari; #150 vari?)
Siegfried: (#111 vari:; #150?:) Hail to you, Bruennhilde, glittering star! (#111?) Hail, lightening love!
Bruennhilde: (#111 vari:) Hail to you, Siegfried, conquering light! Lightening life!
Both: (#150 vari:; #77?:) Hail! Hail! Hail! Hail! [etc.]
Siegfried has effectively described Bruennhilde as none other than his own unconscious mind, just as Wotan did when he acknowledged her as his own will, saying that with himself he communes when he communes with her, and that what he says to no one in words (because Bruennhilde is his own will), shall remain forever unspoken. For Siegfried says that through Bruennhilde’s virtue alone he’ll still undertake adventures, and that she’ll chose his battles, reminding us that Bruennhilde and her Valkyrie sisters once inspired Wotan’s chosen heroes - whom he, deceiving himself, deceived in turn - to martyrdom, in order that after death the legacy they’d left could be enlisted in the ultimate fight to preserve Valhalla, man’s religious impulse and ideals, from the reductive power of the scientific advancement of knowledge (Erda’s objective knowledge). Bruennhilde, his unconscious mind, chooses his battles and inspires him to adventures, rather than his conscious mind, because he is an unconsciously inspired artist-hero. And note, #150 (representing Wotan’s hoard of knowledge, which Bruennhilde imparts subliminally to Siegfried) and #77 (the Valkyrie theme, which represents Wotan’s fear of Erda’s prophecy of the end of the gods, which is the true source of inspiration of the heroes chosen for martyrdom in order to sustain Valhalla, through the agency of his Valkyrie daughters, the heroes’ muses, who possess their mother Erda’s foresight of the twilight of the gods), accompany Siegfried as he grants all credit for what he shall do in future to his muse Bruennhilde.
Wagner meditated quite deeply on the nature of unconscious artistic inspiration, and he felt that the more completely art is inspired involuntarily and unconsciously, like a dream, rather than through conscious calculation and taking one’s audience’s tastes, finances, etc., into consideration, the greater, freer, more spontaneous and more sublime the art. Understanding, on the other hand, which is the kind of thinking Alberich does, and Wotan does too when he is objective, Wagner regards as unfree:
[P. 352] “Man, as he stands confronting nature [i.e., consciously, in either scientific endeavor, which ultimately exploits nature, or religious belief, which denies nature], is wilful and therefore unfree: from his opposition to, his wilful conflict with her, have issued all his errors (in religion and history): only when he comprehends the necessity in the phenomena of nature and his indissoluble connection with her [i.e., through music, feeling, in which he feels one with all things], and becomes conscious of her, fits himself to her laws, does he become free. So the artist confronting life: as long as he chooses, proceeds wilfully, he is unfree; only when he grasps the necessity of
