All Three: the circlet alone he wishes to keep (:#175 &/or #33b?; :#176 vari [&/or perhaps a #164/#19 combination or new #19 vari?])! (#19 vari) (#19 vari/#175 >>>> :) Fare well, Siegfried! A proud-hearted woman will be your heir today, you wretch: she’ll give us a fairer hearing (:#19/#175). (#174a) (#174a:) To her! To her! To her (:#174a)!
(#174: They quickly resume their dance and swim away, at a leisurely pace, towards the back of the stage. Siegfried watches them go with a smile, one leg resting on a rocky outcrop on the shore, while supporting his chin with his hand.)
The Rhinedaughters: #174?:) Weialala leia, wallala leialala.
Siegfried: (#174:) In water as on land I’ve learned the ways of women now: the man who’s not taken in by their wheedling, (#175) (#174c/#175:) they frighten with their threats; he who dares to defy them (by now the Rhinedaughters have disappeared completely (:#174c) (#175:) then has to suffer their scolding tongues. (#175 [&/or #33b?]) – (#174?:) And yet, (the Rhinedaughters can be heard in the farther distance.) were I not (#174c:) true to Gutrune, (#174a:) one of these winsome women (: #174a) (#174b:) I’d have wasted no time in taming (:#174b).
(#175: [&/or #33b?] He continues to watch after them.)
The Rhinedaughters: La la!
(#?: [a five-note horn figure which may be related to #12 or #57?] Hunting horns can be heard approaching over the heights at the back of the stage. #174c; #175 >> [&/or #33b?]; #51; #171; #170?; #103)
Hagen’s voice: (from afar: #170a:) Hoiho (:#170a)!
(Siegfried starts up from his dreamy reverie and answers the call with his horn. #103. #171)
The Rhinedaughters’ critique of Siegfried is essentially a critique of his status as the fool, the unconsciously inspired artist-hero who knows neither who he is, his history, nor the true source of the inspiration whereby he gives birth to redemptive art. Siegfried’s foolishness, bestowed on him
