Wagner's Ring Cycle Complete Leitmotifs Indexed by Alan Dunning

Allen Dunning's Numbered List of the Ring's Musical Motifs
(with musical notation - Sibelius files - and mp3 files provided by Allen Dunning, and
commentary by Paul Heise)
Introductory Remarks:
The following list of the Rings musical motifs, 178 in number, including musical notation, was
provided by Dr. Allen B. Dunning from his online book A Thematic Guide to the Musical Themes
of Richard Wagners Der Ring des Nibelungen. It is the most comprehensive list currently
available. Since my study reproduces almost the entire Ring libretto in Stewart Spencers English
translation, Dr. Dunning and I collaborated to record the numbered motifs within the context of
the libretto wherever we could identify and verify their occurrence at any given point in the
orchestral score. This aspect of this study is almost entirely the product of Dr. Dunnings efforts:
my contribution was very small. In order to do this Dr. Dunning and I have had to devise a set of
symbols to represent not only the numbered motifs but various aspects of their representation, or
the conditions under which they are heard in the score, within the context of the English translation
of the Libretto.
Immediately following the musical notation of each numbered motif will be found the name and/or
description of each motif. If the numbered motif has a commonly used name, I have indicated this
with quotation marks. If a motif has a commonly used name, I generally use it whenever it is under
discussion so that, wherever possible, the reader need not depend exclusively on memorization of
the motifs number to follow my discussion, but also so that, with practice, the motifs identifying
number may be committed to memory. However, not only does my interpretation suggest that
quite a number of traditional names are inadequate or incorrect, but furthermore, Dr. Dunning has
identified a number of motifs which either have never been named, or have never had a commonly
accepted one. I have added a few motifs of my own which evidently have either not previously
been identified as motifs, or were equated with previously identified motifs without their status as
distinct motifs being taken into account. Therefore, since quite often traditional names are either
too one dimensional, or even altogether inaccurate, in expressing the discernible meaning of
motifs (see below), I have also provided a brief verbal description of each motif which readers
should consider either my supplement to a traditional name, or as its replacement. For this reason
the reader must ultimately depend on Dr. Dunnings numbers to identify motifs.
In Appendix I, found at the back of this book on pages 1011-1166 (but not in the briefer version
of the Motif Guide which you are currently reading), I have reproduced verbatim the passage of
libretto text in which each motif is first heard during performance, with enough textual context to
obtain a feeling for the conceptual significance of the motif when it is first heard. In a few instances
where it is not possible to get a full sense of a given motifs meaning without further context, I
have provided subsequent dramatic contexts as well. A classic instance is Wagners Sword
Motif, #57 (otherwise known as the Motif of Wotans Grand Idea), which at its introduction in
R.4 is not yet associated with the sword Nothung, an association which will only take place later,
in V.1.3. To obtain the full meaning of any given motif, however, one would have to know the
dramatic and conceptual context of all of its recurrences, including those of its variants.
Reproducing all of a motifs dramatic contexts in the course of the drama offers us what I call the
dramatic profile of the motif.
An excellent example of a motifs entire dramatic profile was provided by J.K. Holman in
his WAGNERS RING A Listeners Companion and Concordance, where he reproduced 43
instances in the course of the Ring drama in which we hear the Womans Worth Motif (#37in
Dunnings Guide to the Ring motifs, and identified there as the Loveless Motif) [Holman: p.
393-396] Since it would be impossible within the covers of a book to reproduce all 178 motifs
dramatic profiles (this can, however, be accomplished on ones computer), my detailed verbal
description of each motif attempts to convey something of the richness of resonance any given
motif has acquired during its entire history of recurrences within the drama.
However, given the many dramatic contexts with which any given motif is associated in the Ring,
and therefore the multiple and often ambiguous conceptual associations which a motif accrues in
the course of its life within the drama, to elucidate a definitive meaning for each occurrence of
a motif within the context of the libretto is in most cases impossible. This problem was also
demonstrated by Holman with respect to the difficulty of determining what the Womans Worth
Motif, #37, means. [Holman: P. 393-396] Though there are quite numerous instances in which
motifs make unremarkable recurrences, i.e., in which one is not surprised to hear them in their
current dramatic context (such as when we see - or hear a verbal reference to - an object or person
with which the motif has been previously associated, and hear this motif as well), there are
comparatively few instances in which motifs recur which are unambiguously logical, yet
dramatically brilliant in their effect. A classic instance of such a well motivated, yet dramatically
moving and surprising employment of a motif, is the well known recurrence of the first segment
of the Valhalla Motif (#20a) in The Valkyrie, Act One, Scene Two, as Siegmund recalls how he
lost his father Woelf (Wotan in disguise) in the forest, finding only his wolf-skin. Its poignancy
arises partly from the audiences awareness of something of which Siegmund is wholly ignorant,
that Siegmunds father Woelf (or Waelse) is the god Wotan in disguise.
Most of my interpretations of the recurrence of specific motifs within specific dramatic contexts
are therefore speculative, educated guesses. There are after all a number of well-known instances
in which the dramatic or conceptual motivation behind Wagners employment of a specific motif
in a certain dramatic context remains a mystery subject to endless debate. A famous instance is
Wagners employment of Motif #18 (the so-called Renunciation of Love Motif), which is first
heard in The Rhinegold Scene One as the Rhinedaughter Woglinde tells the Nibelung dwarf
Alberich that only one who is prepared to renounce love can forge a ring from the Rhinegold which
will grant him limitless power, in a surprising dramatic context later. The confusion arises from
the fact that in The Valkyrie, Act One, Scene Three, as Siegmund, preparing to pull the sword
Nothung out of Hundings house-tree, heroically embraces the love of his sister (and soon to be
bride) Sieglinde, and therefore embraces the obligations of love, he sings #18. Therefore the so-
called Renunciation of Love Motif in V.1.3 is employed as a motif representing Siegmunds
need for love. I have provided original and logically motivated explanations for each such instance
in the Ring. However, this limitation that many recurrences of motifs within certain dramatic
contexts are so resonant with a variety of possible meanings that definitive elucidation is
impossible - must be taken into account by any serious reader of this study. Experiment will show
that any complex interpretation of this daunting masterpiece can probably supply a plausible
rationale for the recurrence
of almost any motif in any possible dramatic context, so an interpreter must be very careful not to
overreach in drawing conclusions from the recurrence of specific motifs in surprising dramatic
contexts.
Therefore we can only approach motival interpretation humbly with the full battery of knowledge
at our disposal, taking into account not only the complete dramatic profile of each motif, but also
all the other clues which Wagner and his mentor Feuerbach have given us. In order to propose a
plausible interpretation of motival conundrums we must at least discern a logical, dramatically
persuasive conceptual theme underlying the multiple recurrences - the history of dramatic
associations - of any given motif, i.e., the allegorical logic underlying its dramatic profile.
It is well-known that not only do Wagners employment of a comparatively small number of easily
remembered musical motifs lend a remarkable feeling of unity and dramatic coherence to the Ring,
but also, ever since the demonstrations provided by Deryck Cooke in his famous guide to the
musical motifs of the Ring, recorded as a lecture, became available in the late 70s, it has been
known that a large number of the musical motifs fall under different families, whose motifs are
kin by virtue of certain common musical features. Furthermore, Cooke demonstrated that in many
instances motifs give birth to other motifs by virtue either of a gradual process of musical
transformation from one form to another, or at any rate in being the musical basis for a motif which
is heard later. Dr. Dunning has incorporated most of Cookes insights into Dunnings own guide
to the Rings motifs, and has added other discoveries of his own, some of which offer
improvements on Cookes work. Following the example of both Deryck Cooke and Dr. Allen
Dunning, I have also attempted to delineate the musical genealogy of each motif, and/or outline
its musical relationship with other kindred motifs, wherever this can enhance understanding. The
genealogy for each motif can be found after each motifs description in the briefer guide you are
currently reading, and prior to the dramatic context provided in the more elaborate motif guide
found in Appendix I. Unless otherwise indicated, nearly all the information provided in this guide
regarding motifs transformations and genealogical relations are based on Cookes study. Dunning
provided most of the remaining insights on this subject.
Here is my list of symbols employed within both Allen Dunnings list of motifs which follows,
and also within the body of the text of The Wound that Will Never Heal wherever libretto text is
reproduced, or where Wagners musical motifs are under discussion:
# -- stands for specific music or a specific motif. It is always followed by either a

description of the music in question, and/or the number assigned by Dunning which
identifies a motif.
#: -- indicates that the following passage in the poetic text is sung to, and/or accompanied
in the orchestra by, the specified music or motif. An example: Woglinde: (#4:) Weia!
Waga! Welter, you wave, swirl Round the cradle (:#4)!
:# -- indicates that the specified music, or motif, to which the previous text was sung, or
which accompanied it in the orchestra, has now ended. (see example above)
#? -- stands for music whose motival identity, if any, has not yet been ascertained
/ -- a backslash, /, between two or more motifs, for instance, #33/#20b, indicates that
Wagner has combined the motifs in some way
[[# ]] -- indicates the first definitive occurrence of a numbered motif in the context of the
score and libretto
Voc -- indicates the specified music, or motif, is sung. For instance: Woglinde: (#4Voc:)
Weia! Waga! Welter, you wave, swirl round the cradle (:#4 Voc)!
Orch -- Indicates the specified music, or motif, is played by the orchestra. For instance:
(#7 Orch: His progress repeatedly obstructed, Alberich Clambers to the top of the ledge
with goblin-like agility). In appropriate instances the specific instrument or section of the
orchestra which plays the identified passage is named.
a, b, etc. -- Dr. Dunning has subdivided some motifs according to identifiable,

distinguishable segments, which are sometimes heard independently within the Ring. Such
segments are identified by smaller case letters following the motifs identifying number.
For example, the Valhalla Motif #20 has five distinguishable segments, #20abcde, which
will often be heard separately.
A, B -- Wherever a motif number is followed by an upper case letter, this indicates a variant
of the Definitive Motif which sounds sufficiently like the Definitive Motif to be listed
under its number, but sounds sufficiently different from the Definitive Motif to warrant
designation as a key Variant. In some cases, such variants acquire a conceptual resonance
which is kin to, but distinct from, the original motif from which it was derived. For
instance, #81B is a very distinctive Variant of #81A, which has independent conceptual
significance yet remains thematically akin to the original motif #81A (both musically and
in terms of dramatic import).
Vari -- A variant of a motif is sufficiently similar to the original motif to be identified

by its number, but sufficiently distinct from it to be classified as a variant of the original,
or Definitive motif. In some instances a motif is so thoroughly transformed or varied in
the course of the music-drama, both musically and in terms of its dramatic context and/or
meaning, that it has been given its own identifying number as an entirely independent
motif. In such instances, however, its musical genealogy will be indicated. A classic
example, first described by Deryck Cooke, is the transformation of #19, the Ring Motif,
into #20a, the initial segment of the Valhalla Motif. And the Spear Motif #21, as
demonstrated by Deryck Cooke, undergoes an astonishing series of transformations. Such
cases often have great significance in interpreting the drama.
Frag -- A fragment of a musical motif, not necessarily identifiable as a lettered segment.

o > -- A specific motif transforms into another motif which thus has a musical kinship
to the original, but is sufficiently distinct from its parent to warrant its own
identifying number. An example: #19>#20a.
o >> -- A musical motif develops of itself, but without necessarily transforming into
a distinct motif identifiable by a different number
Embryonic -- Some motifs initially appear in a rather cryptic, premonitory form which has
not yet attained a well delineated, easily identifiable Definitive Form
Definitive -- The well delineated form, with a distinctive musical profile, which motifs
take on once they have attained the more or less fixed form in which they will be heard
throughout the Ring after their initial appearance.
DAS RHEINGOLD The Rhinegold
[[#1]] Primal Nature
We gradually become conscious of the essence of uncreated Nature, which has always, and will
always, be embodied by changing forms, which evolve over time into new forms.
(#1 basis of #2, #3, #53 and #57b, and perhaps #115; via #53 a basis for #71, #77, #88, #92, #95,
and perhaps #152)
[[#2]] Rhine Motion
(#2 based on #1; basis of #3, #14, #38, #53, and by extension of #54, which is approximately #53's
inversion, and #175; see #1 above for other links)
[[#3]] Definitive Rhine River
(#3 based on #2; #3s inversion is the basis for the motif which represents the Norns - Erdas
daughters - spinning the rope of fate. see #2 above for #3s genealogy)
[[#4]] Woglindes Lullaby
Woglindes futile effort to keep the world from waking, in order to forestall the Fall caused by
the evolution of human consciousness. This motif represents the Ur-melody, or Mother-
melody, animal instinct which is the foundation of music
(#4 basis of #128ab and #129ab, while #174abc is a loose inversion;related to #98 as a pentatonic
Song of Nature)
[[#5ab]] Alberich's exclamation of woe at being rejected by the Rhinedaughters
(#5 basis of #13, #15, #41, #45, and #161)
[[#6]] Alberich's lurching locomotion in his futile attempt to catch a Rhinedaughter
(#6s Motival links, if any, not yet ascertained)
[[#7]] Alberich's Futile Wooing
The futility of Alberichs attempt to win the love of a Rhinedaughter, representing human
consciousness as a stumbling block to feeling
(#7 basis of #86)
[[#8]] Wellgunde mockingly leads Alberich on
The egoistic cruelty and exclusivity of what is called love

(#8 in same family as #23, #93, and #149)
[[#9]] Alberich's desperation to win a Rhinedaughter (#9 may be deleted!)
(#9s motival links if any - not yet ascertained)
[[#10]] An embryo for the Nibelung Forging Motif #41 (#10 may be deleted!)
[[#11]] Light shimmers underwater as the Rhinegold is brightened by the sun
One of Cookes Motions of Nature

(#11 in same family as #14, #38, and #175)
[[#12]] The Rhinegold
The stuff of Nature, distilled and lit by the sunlight of conscious thought
(#12, based on a diatonic arpeggio, in same family as #1, #56, #103)
[[#13]] The Rhinedaughters' cry: "Heiajaheia! Heiajaheia!
The Rhinedaughters joyous greeting of the waking Rhinegold, expressing their aesthetic
pleasure in the world
(#13 based on #5ab; basis of #41, #45b, and #161b)
[[#14]] The Rhinedaughters' exuberant swimming in celebration of the Rhinegold
(#14 based on #2, basis of #38 and #175)
[[#15]] The Rhinedaughters' cry: "Rhinegold! Rhinegold!"
The Rhinedaughters joyous greeting of the waking Rhinegold, expressing their aesthetic
pleasure in the world
(#15 based on #5a; basis of #45a, and #161a)

[[#16]] The Rhinedaughters' song, dance, and verse in praise of the Rhinegold
The Rhinedaughters as muses of the arts, representing instinct, musical feeling, as the basis for
aesthetic intuition
(#16s motival links, if any, not yet ascertained)
[[#17ab]] World Inheritance (The power of the human mind)

By forging a Ring from the Rhinegold, one would gain limitless power. This is a symbol for the
power of the human mind, which grants man power over his world unknown to any other animals.
(#17ab grows naturally out of some of the Rhinedaughters' joyous singing in praise of the
Rhinegold; basis of #19 and therefore also of #20a; #19ab in turn basis of #46, #50, #51, #68,
and #159)
[[#18ab]] Renunciation [and Need] of Love

If we lose our innocence, our love, upon acquiring fully human consciousness, our greatest need
is to restore what has been lost.
(#18b basis of #37; #37 seems to influence a large number of subsequent motifs)
[[#19ab]] Alberich's Ring of World-Power (The Limitless Power of the Human Mind)
Alberichs forging of the Ring of power, and renunciation of love, represents mans evolutionary
transition from an animal dependent on instinct (the life of feeling) into the fully human being,
gifted with that reflective thought which grants him worldly power.
(#19ab based on #17ab, which in turn is based on music characterizing the Rhinedaughters joy;
basis of #20a; #19's chords basis of #50, #19a basis of #68 and #159; #19a's inversion basis
of #51; #19b basis of #46; #19's harmony heavily influences many motifs, particularly under
special dramatic circumstances)
[[#20abcde]] Valhalla (the Gods heavenly abode)

The Gods' heavenly abode, a refuge from Alberich's Host of Night: A symbol for human
civilization predicated on religious faith, the belief in gods, a waking dream through which
collective, historical man involuntarily and unconsciously invented the gods
(#20a based on #19ab, which in turn is produced by #17ab, derived in its turn from a
transformation of music characteristic of the Rhinedaughters delight in the Rhinegold; #20b may
be basis for #113; related through its basis #19 to all the #19-based motifs such
as #46, #50, #51, #68, and #159)
[[#21]] Wotan's Spear of Divine Authority and Law (the Social Contract)
Wotans Spear, inscribed with the Social Contract, represents the prudence of egoism: this is an
agreement whereby mans egoistic motives, represented by the Giants, give authority to actual
leaders and laws, or to products of the imagination like gods, to restrain each individuals ego, to
force each man to do good, for the sake of security and quiet for the majority, the common good.
(#21 basis for #28, #32b; #60, #62, #81AB, #96AB, #137, #164, and perhaps #115; #21's
inversion basis for #47 and #82; one of three motifs comprising #83)
[[#22]] Love's Longing for Fidelity

(#22 basis for #64a, #74, #99, and perhaps #106 and #156b?)
[[#23]] The domestic bliss of Valhalla

Frickas hope that the domestic bliss of Valhalla (i.e., the quiet and security offered by a
civilization founded on religious faith) will keep Wotan (mankind) from wandering outside its
confines (i.e., from betraying religious faith and the civilized values which stem from it)
(#23 based on #8; basis of #93 and #149)
[[#24]] Freia (the first of two motifs representing Freia as Goddess of Love, in this case
"Sensuous Love")
(#24 basis of #139; possible basis of #153)
[[#25]] Freia (the second motif representing Freia as Goddess of Love, in this case
"Transcendent Love")
Freia as Goddess of Divine, Transcendent Love assuages and idealizes mans desire (Fasolt)
(#25 based on Embryo from the vocal line of Alberichs complaint at having his bid for love
rejected by all three Rhinedaughters, who had led him on: (#5a) Woe! (#5b) Ah, woe!
(#25 & #39 Embryo) Has the third, so true, betrayed me as well?; basis of #39, of Definitive Love
Motif #40 and #64b, of #80b, #133, and #140; possible basis of #145)
[[#26ab]] Giants
Mans egoistic animal instincts of desire (Fasolt), and self-preservation or fear (Fafner)
(#26ab basis of #126)
[[#27]] Fasolts suspicion the gods will break the contracts by virtue of which they rule
Commonly known as the Irrevocable Law Motif
(#27 basis of #36, #44, #101, and #116)
[[#28]] The Gods' need to honor their contracts to maintain the peace
Commonly known as the Treaty Motif
(#28 based on #21; in same family as #32b, #60, #62, #81ab, part of #83, #96ab, #137, #164, and
possibly #115; inversion related to #47 and #82)
[[#29]] Freias Golden Apples of sorrowless youth eternal (immortality)

Representing the illusory promise of religion, that select human beings (such as the heroes inspired
to martyrdom by the Valkyries, who are resurrected to serve Wotan and the gods of Valhalla in
the final battle with Alberich and his host of night) will, after death, enjoy the gods immortality.
Freias golden apples of immortality assuage mans fear of death (Fafner)
(#29 basis of #31)
[[#30ab]] Godhead Lost

The fact that Valhalla, the gods allegedly transcendent, heavenly realm, was built by the giants
(mans egoistic instincts) while the gods slept (i.e., during the stage of human evolution when man
was collectively dreaming the gods into existence by involuntarily creating a mythology to explain
mans existence), proves that to
acknowledge this debt would be tantamount to denying thereality of the gods, and of redemption.
Thus, Fafners threat to deprive the gods of their immortality by taking Freia from them, is as
much a mortal threat to religious faith, as is the gods debt to the Giants for building Valhalla.
(#30b basis of #97; #30b possibly related to #33b)
[[#31]] Freia's optimistic, grateful brother Froh

The two sources of inspiration for religious faith, for belief in the gods, are fear (Donners thunder)
and gratitude (Freias brother Froh)
(#31 based on #29)
[[#32ab]] Donner, Fearful God of Thunder Enforcer of the Gods Rule (Faith)
The two sources of inspiration for religious faith, for belief in the gods, are fear (Donners thunder)
and gratitude (Freias brother Froh)
(#32b based on #21's Embryo; #32b related to #60 and #62; #32b in same family as #28, #81ab,
part of #83, #96ab, #137, #164, and possibly #115; inversion of #32b related to #47 and #82)
[[#33ab]] Loge (mans gift of artistic self-deception)

Loge, representing the artistic cunning in mans (Wotans) imagination, the source of mans gift
for self-deception in religious belief, collaborated with the Giants (mans egoistic impulses) to
create the supernatural realm of the gods, Valhalla. The gods must disavow their debt to Loge
because religious belief must never acknowledge that it is based on self-deception
(#33as motival links, if any, have not been ascertained, but musically it forms a perfect pair
with #33b; #33b is possibly related to #30b and #97)
[[#34]] Loge's Flickering Flames

(#34 has no specific motival links, but is clearly in the family of Nature in Motion Motifs such
as #11, #38, etc.)
[[#35]] Loges artistic self-deception makes man long for the impossible
Loges Transformations Motif
(#35 basis of #42, #43, #100, and #154; related to #48)
[[#36]] The value of Loges deceptive advice can only be known in the long run
Loge's Deceptions
(#36 based on #27; basis of #44, #101, and #116)
[[#37]] Loveless World

Otherwise known as the Motif of Womans Worth This motif, a sign for the motif from which
it is derived, #18, is the embodiment of mans Fall, through his acquisition of reflective
consciousness, the anguish or Noth which is the price of consciousness
(#37 based on #18b; it influences many other motifs)
[[#38]] Musical prologue to Loge's narrative about the impossibility of finding a substitute for
love
(#38 based on #2 and #14; related to #175)
[[#39]] Alberichs unbearable anguish: he has found there is no love in the world
(#39 based on #25 but ultimately on the vocal line of Alberich's despair at being rejected by the
Rhinedaughters: "(#39 Embryo Voc) The third, so true, betrayed me as well?"; basis
of #40, #64b, #80b, #133, #140 and perhaps #145)
[[#40]] Love under threat from Alberich's curse on love

Sometimes known as Tragic Love
(#40 based on #25 and #39; basis of #64b, #80b, #133, #140, and perhaps #145)
[[#41]] Nibelungs as Slaves of Labor

Commonly known as the Nibelung Forging Motif This motif represents Wagners notion that
labor which is the product of consciously ulterior motives, whose sole purpose is the satisfaction
of vulgar physical need and the quest for profit, prompted by the lust for power or by the fear of
others power, has no value, while the labor which one undertakes spontaneously, as the product
of ones own nature, such as unconscious artistic inspiration, is joyous
(#41 based on #5ab, #10, and especially #13; related to #45ab and #161ab)
[[#42]] The Wondrous Tarnhelm (mans imagination)

The Tarnhelm, Wagners metaphor for that special product of the power of the human mind (the
Ring), the imagination, initially served Alberichs quest for Worldly power, but was co-opted by
Wotan and the gods, with the aid of Loges cunning, to create and sustain the illusions which are
the basis for religious belief, the basis for the gods rule over mens hearts
(#42 based on #35; basis of #43 and #154; related to #48, #49, and #100)
[[#43]] The Tarnhelm's Transformations (Wagnerian Wonder)

The religio-artistic imagination as the basis for Wagners Wonder, through which primal man
first collectively and involuntarily, as in a dream, invented the gods, and later, the individual,
unconsciously inspired artist, the music-dramatist, substituted musical feeling (Wagners musical
motifs) for religious faith
(#43 based on #35 and #42; basis of #154; related to #48, #49, and #100)
[[#44]] First Motif of Mime's Scheming

Representing Mimes hope to employ the Tarnhelm, Loges artistic cunning, to wrest the Ring
from his brother Alberich, and free himself from Alberichs power (a model for Wotans co-
optation of Alberichs Ring-power)
(#44 based on #27 and #36; basis of #101 and #116)
[[#45ab]] The Coercive Power of the Ring

Representing egoism (lust for power and/or fear of it) as mans root motive
(#45ab based on #5ab, and #15 plus #13; basis of #161)
[[#46]] Alberich's ever-growing Nibelung Hoard of treasure

Wagners metaphor for collective, historical mans (Wotans, i.e., Light-Alberichs) worldly
experience and accumulation of a hoard of objective knowledge of man and nature over time
(#46 based on #19b; related to other #19-based motifs such as #20a, #50, #51, #68, and #159)
(#@: A or C?) The inevitability of Alberichs victory over the gods, that Alberichs hoard of
knowledge will rise from the silent depths to the light of day and overthrow the illusions which
sustain Valhalla (religion)
((#@: A or C?) is a compound motif comprised of #12 and #20b. See #12 and #20b for motival
links.)
[[#47]] Alberich's Rebellion

Representing Alberichs rebellion against the gods rule (i.e., the objective minds rebellion against
domination by mans religious illusions), and intent to overthrow them, and then to force his
attentions on their women, without love
(#47 an inversion of #21; basis of #82; through #21, related to #28, #32b, #60, #62, #81ab, part
of #83, #137, #164, and perhaps #115)
[[#48]] Alberich and Fafner transformed into a fearful serpent through the Tarnhelms Wonder
Commonly known as the Dragon Motif, or Serpent Motif - Wagners metaphor for mans fear
of death, and the more abstract, existential fear of truth, the primary motives behind mans
involuntary invention of the gods, who assuage mans fear through the promise of immortality to
mortal man
(#48 basis of #49; related to #35, #42, #43, and #154)
(#@: B) Arrogance of Power Motif

Loge (the archetypal artist-hero) and Wotan mock Alberichs claim to the Ring-power. This power
really belongs to Alberich alone, since only he has the courage to pay the price for it,
acknowledgment of the worlds lovelessness. Therefore the gods, who can only sustain their rule
through self-deception, are hypocrites in co-opting Alberichs Ring-power.
((#@: B) Arrogance of Power is a compound motif comprised of #20b/#33b.)
(See #20 and #33 for further motival links.)
[[#49]] Alberich transformed into a Toad through the Tarnhelm's magic

The gods (religious belief) take the human mind (Alberich and his Ring) prisoner
(#49 based on #48; related to #35, #42, #43, and #154)
[[#50]] Alberich's Resentment against the gods' rule and intent to avenge their co-opting of his
Ring-Power
Alberich will inevitably avenge the gods co-opting of his Ring power, their suppression of the
potential for the human mind to acquire power through objective knowledge, because religious
man (Wotan, Light-Alberich), over time, will accumulate a hoard of knowledge which will
undermine his illusions
(#50 a syncopation of #19's harmony; related through #19 harmony to #46, #51, #68, and #159)
[[#51]] Alberich curses his Ring to punish Wotan and the gods for committing religions sin of
world-renunciation
The Curse Motif The sole purpose of Alberichs curse on his Ring is to punish those who co-
opted its power to perpetuate their great sin of world-renunciation, Wotans sin against Erdas
(Natures) objective knowledge of all that was, is, and will be
(#51 inversion of #19a; related through #19 to #20a, #46, #50, #68, and #159)
[[#52]] Alberich's curse of consciousness as foreknowledge of the end

Alberichs curse on the Ring, the curse of consciousness and foreknowledge, imparts existential
fear of the end to the Rings new owners, those religio-artistic folk who deny truth and consign it
to oblivion in favor of consoling illusions.
[[#53]] Erda Mother Nature - invokes her objective knowledge of all that was, is, and shall
be, that all things that are, end
(#53 based on #2, and therefore on #1; with some changes its inversion is basis for #54; #53s
chords are the basis for #138; through #1 it is related to #57b, basis for #83a and #146; #53's last
three notes generate #71, #77, #88, #92, #95, and possibly #152)
[[#54]] Erda's prophecy of the fore-ordained Twilight of the Gods

It is fore-ordained by the laws of evolution and history that Alberichs son Hagen (metaphor for
our modern, secular, scientific world-view) will ultimately supplant the mytho-poetic, religious
phase of human history, bringing about a figurative twilight of the gods
(#54 approximately based on inversion of #53; related
through #53 to #1 and #2, #57b, #71, #77, #88, #92, #95, and perhaps #152)
[[#55]] Donner's cry: Heda! Heda, hedo!

Donner sweeps the gods heavens clear, in order to purify the air of the taint of Wotans corrupt
machinations and self-deceit in establishing the gods self-delusional refuge from truth, Valhalla
(#55 basis of #61, and possibly basis of #84 and #85)
[[#56]] Rainbow Bridge over the Rhine to Valhalla

The Rainbow Bridge is the evolutionary bridge of transition from nature to human culture
(#56 in the family of Nature motifs, variations on the Primal Nature Motif #1 and Rhine
Motifs #2 and #3, which include #12)
[[#57ab]] Wotan's Grand Idea of redemption from Alberichs curse on his Ring
Commonly known as the Sword Motif - Wotans grand idea of redemption from Alberichs
curse on his Ring is to produce a race of heroes who can redeem Valhallas gods (religious faith)
from Alberichs threat to make all men as conscious as he is of the objective truth, by restoring
lost innocence. These Waelsung heroes are to inherit a sword made by Wotan, whose
motif #57 incorporates the Primal Nature Motif #1, and therefore represents the innocent time
before the Fall.
(#57a based on the octave drop when Erda, during her prophecy of the gods' doom, said that (#53)
All things that are, (#Octave Drop) end!; #57b based on #1; related to other Nature arpeggios
like #12 and #56; related through #1 to #53 and #54, and through #53's last three notes to the set
of heroic motifs which include #71, #77, #88, #92, #95, and perhaps #152)
[[#58ab]] Valhalla as religious mans refuge from dread and dismay in the face of truth
Wotans Waelsung heroes are Siegmund, Wagners idea of a moral hero, and Siegmunds son
Siegfried, Wagners 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, mans
heritage of religious illusion, from the truth.
(#58as motival links, if any, not yet ascertained; #58b basis of #79)
[[#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 human thought, a basis for man's longing to restore lost innocence in musical feeling.
(#59a a variant of #15; #59bcs motival links, if any, not yet ascertained; is #59bc
a #4 or #16variant in the minor?)
The Valkyrie
[[#60]] Wotans Storm of Noth (anguish)

Wotan the Wild Huntsman's Storm of "Noth," which he sets in motion to test his son Siegmunds
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 Wotans 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 #21to #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 Siegmunds Noth
(#63s motival links, if any, not yet ascertained; however, Dunning notes that Sieglindes
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)
[[#64ab]] Definitive Love Motif

(#64a may be influenced by #22, but also likely by #24; #64b based directly on #40, and
via #40, #39, and #25, originates in the vocal line of Alberich's remark: "The third, so true,
betrayed me as well?, and also in another Embryo from R.1; basis of #80b, #133, #140, and
possibly #145)
[[#65]] Siegmund's Ill-Fortune

Siegmunds ill-fortune is a consequence of the Noth Wotan, Siegmunds father, has subjected
him to in order to inspire his heroic, individual conscience, as a mortal rebel against the gods rule
[[#66]] The Waelsungs Noth, Siegmunds and Sieglindes mutual bond of sympathy for
each other
The Waelsung twins Siegmund and Sieglinde feel sympathy for each other as victims of the Noth
which their father Wotan (known to them only in his disguise as a mortal man, as Waelse, and
Woelf) has imposed on them: they are martyrs unwittingly dedicated by Wotan to the tragically
futile quest to redeem the gods from Alberichs curse on his Ring
(#66s motival links, if any, not yet ascertained; could #66 be related to #106?)
[[#67]] Hunding (i.e., Hounding), model citizen of established society

Hunding, Sieglindes authoritarian husband and conservative adherent of tradition, honor, and
inherited rights, who bought Sieglinde from the Neidings after they killed her mother and took her
captive, thus forcing her into a loveless marriage
(#67s motival links, if any, not yet ascertained; but there does seem to be some #26ab influence
here)
[[#68]] Hunding's Honor, Hearth and Home

(#68 based on #19a; basis of #159; related through #19 to #17, #20a, #46, #50, #51, and #167)
[[#69]] The Innocent Maidens Weeping

The anonymous, innocent maiden weeps over the bodies of her dead brothers who had tried to
force her into a loveless marriage, after Siegmund tried to intervene in her behalf, in response to
her appeal bespeaking the contradiction between individual conscience and social mores
(#69 basis of #80a)
[[#70]] Infinite Sorrow of the Waelsungs

The reason why Siegmund cant call himself happy, but must call himself Woeful: Siegmund
suffers anguish in striving always to do right according to his own lights, his own conscience,
which places him perpetually at odds with the thoughtless adherence to tradition and rules of
established society
(#70 based on an embryo drawn from Siegmunds prior vocal line: (to Hunding and Sieglinde)
[[ #70 Embryo ]] A Woelfing [i.e., son of Wotan disguised as Wolfe, and also disguised as
Waelse] tells you this, whom as Woelfing many know well.; #70s motival links, if any, not yet
ascertained)
[[#71]] The Tragic Waelsung Race
Siegmunds anguish in striving always to do right according to his own lights, his own conscience,
which places him perpetually at odds with the thoughtless adherence to tradition and rules of
established society
(#71 based on the last three notes of #53, and therefore based ultimately on #1 and #2; related
to #57b through #1; the family of heroic motifs based on the last 3 notes of #53 also
includes #77, #88, #92, #95, and possibly #152)
[[#72]] Siegmund Destined to Win Wotan's Sword Nothung

Siegmund is destined to fall heir to Wotans futile quest to redeem the gods of Valhalla by restoring
lost innocence, and therefore foredoomed to die for love
(#72 is a compound motif comprised of #57b and #20a; see #20 and #57 for extensive series of
motif links)
[[#73]] Siegmund's Winterstorms Have Waned Aria

Siegmund (brother Spring) and Sieglinde (sister Love) longed for and found each other: sibling
incest and adultery as symbols for the Waelsungs instinctive war against a vile, corrupt social
order predicated on self-interest and complacency instead of love
(#73s motival links, if any, not yet ascertained; Dunning suggests a distant relationship to #2)
[[#74]] Waelsung's Love-Longing

(#74 in same family as #22, #99, and possibly #106)
[[#75]] Siegmund's and Sieglinde's delight in each other (united are Love and Spring)
(#75s motival links, if any, not yet ascertained; this motif is employed in Wagners independent
chamber orchestra composition, the Siegfried Idyll)
[[#76]] The Waelsung twins' remembrance of things past their common Waelsung heritage
(#76s motival links, if any, not yet ascertained; heard most prominently after this in the exciting
finale of V.1.3 as the Waelsung twin-pair Siegmund and Sieglinde run off together from Hundings
house to elope)
[[#77]] The Valkyries as muses of inspiration and angels of death

Erdas daughters, the Valkyries (including Bruennhilde), inspire heroes to martyrdom in unwitting
service to the illusory, religious belief in mans transcendent value. After death their cultural legacy
lives on to protect Valhalla and its illusions from the truth
(#77 part of a family of heroic motifs derived from the last 3 notes of #53, which
include #71, #88, #92, #95, and perhaps #152; through #53 related to #1 and thus to #57b and
to #2 and #3)
[[#78]] Bruennhilde's Valkyrie War-Cry

[[#79]] Fricka's indictment of the Waelsung twins illicit (adulterous and incestuous) love
Fricka expresses her fear that Wotans use of mortal proxies to undermine divine law will bring
about the end of mans faith in the gods. Wotan knows what Fricka cant afford to acknowledge,
that only through this breach in faith can the gods ideals and values live on, redeemed from
Alberichs curse, redeemed from Alberich's threat to overthrow them.
(#79 based on #58b; #79s initial rhythm influenced by #61)
[[#76]] The Waelsung twins' remembrance of things past their common Waelsung heritage
(#76s motival links, if any, not yet ascertained; heard most prominently after this in the exciting
finale of V.1.3 as the Waelsung twin-pair Siegmund and Sieglinde run off together from Hundings
house to elope)
[[#77]] The Valkyries as muses of inspiration and angels of death

Erdas daughters, the Valkyries (including Bruennhilde), inspire heroes to martyrdom in unwitting
service to the illusory, religious belief in mans transcendent value. After death their cultural legacy
lives on to protect Valhalla and its illusions from the truth
(#77 part of a family of heroic motifs derived from the last 3 notes of #53, which
include #71, #88, #92, #95, and perhaps #152; through #53 related to #1 and thus to #57b and
to #2 and #3)
[[#78]] Bruennhilde's Valkyrie War-Cry

[[#79]] Fricka's indictment of the Waelsung twins illicit (adulterous and incestuous) love
Fricka expresses her fear that Wotans use of mortal proxies to undermine divine law will bring
about the end of mans faith in the gods. Wotan knows what Fricka cant afford to acknowledge,
that only through this breach in faith can the gods ideals and values live on, redeemed from
Alberichs curse, redeemed from Alberich's threat to overthrow them.
(#79 based on #58b; #79s initial rhythm influenced by #61)
(#83 is a compound motif comprised of #53 plus #53s Inversion tantamount to #54, i.e. Erda's
prophecy of the twilight of the gods - overlain by #81A, i.e., Wotan's awareness of the futility of
hoping for a free hero who could redeem the gods from the fate Erda foresaw; please see #53, #54,
and #81AB for the list of motival relationships)
(#@: A or C?)The inevitability of Alberichs victory over the gods, that Alberichs hoard of
knowledge will rise from the silent depths to the light of day and overthrow the illusions which
sustain Valhalla (religion)
This motif represents Wotans growing awareness, thanks to Erdas (Mother Natures) prophecy,
that the gods are foredoomed to destruction. This is Wagners metaphor for the fact that in the
fullness of time, collective, historical Man (Alberich and Wotan Light Alberich) will accumulate
a hoard of objective knowledge of the world (Erdas knowledge of all that was, is, or will be)
which will overthrow the illusions which have sustained religious belief
((#@: A or C?) is a compound motif which seems to take a variety of forms, but its definitive
form, heard here, is a special harmonic variant of the Valhalla Motifs second segment, #20b, plus
a #12 variant, seeming to suggest that the gods are poor guardians of the innocence of the
Rhinegold, that in spite of Loges suggestion to the Rhinedaughters that the golds lost light - in
which they can no longer bask since Alberich took it - they could find again in the gods splendor,
this is not so: the gods are no more innocent or capable of restoring innocence than Alberich.
Knowing that Alberich's victory is inevitable because he and his son Hagen are on the side of truth
(while the gods and their heroes sustain themselves through self-deception), Wotan despairingly
resigns himself to the eventual success of Alberichs plan to storm Valhalla and bring about the
twilight of the gods)
[[#84]] The first motif of Wotans Anger at Bruennhilde for fighting for an ideal he has
renounced
Wotans anger at Bruennhilde for disobeying his injunction to insure that Hunding exacts
vengeance on Siegmund, is actually the product of Wotans self-contempt. It expresses his rage
against himself, for he finds always only his own craven, egoistic motives behind all his efforts to
create a hero, freed from the gods law and
influence, who can redeem them from Alberichs curseon his Ring. Bruennhilde still fights for
Wotans futile hope, after Wotan has renounced it.
(#84 possibly based on #55)
[[#85]] The second motif of Wotans anger at Bruennhilde for fighting for an ideal he has
renounced
(#85 possibly based on #55)
[[#86]] Hundings Pursuit of the Waelsung Twins

A motif representing the difficulty of living for love in a loveless world
(#86 based on #7, Alberichs Futile Wooing [Scrambling] Motif)
[[#87]] Fate
Erdas daughters, the Norns, weave her knowledge of all that was, is, and will be into the rope of
natural law, ur-law, which represents objective truth, the natural necessity of all things. Alberich
affirms Erdas objective truth, while Wotan (mans religio-artistic impulse) renounces and
therefore sins against it
(#87s motival links, if any, not yet ascertained; but Cooke suggested a possible link with the
family of motifs which includes #35, #42, #44, #48, and #154)
[[#88]] Bruennhildes annunciation of fated doom to Siegmund

Bruennhilde and her Valkyrie sisters are muses of inspiration and angels of death, who inspire
heroes on the battlefield to martyr themselves for the sake of Wotans futile quest to redeem the
Valhallan gods from the shameful end which Erda foresaw, and which Alberichs son Hagen will
bring about as the instrument of
Alberichs curse on his Ring. This represents the martyrdom of cultural heroes of religion and art
in service to mans illusion that he has transcendent value, heroes whose legacy only becomes part
of our religio-artistic heritage after their death.
(#88 based on the first three notes of #53, and thus related to #1 and #2; related to #57b
through #1; one of the family of heroic motifs growing out of the last three notes of #53,
including #71, #77, #92, #95, and perhaps #152)
[[#89]] Siegmunds resistance to the fated doom Bruennhilde heralded, for the sake of his love
for his sister-bride, Sieglinde
Siegmund renounces the sorrowless youth eternal (Freias golden apples) which he would enjoy
in the gods heavenly abode, Valhalla, in order to live and die for the sake of his earthly love for
his mortal sister, Sieglinde. Siegmund knows
instinctively that the heavenly abode of the gods possesses no value in itself, but is merely an
imaginary projection of our earthly bliss
(#89s motival links, if any, not yet ascertained; but #89 seems to be musically kin to #177b)
[[#90ab]] Bruennhildes sympathy for and heroic rebellion against Wotan in the service of
the Waelsung race, Siegmund, Sieglinde, and the yet-to-be-born Siegfried
[[#91]] A Ride of the Valkyries Motif (illustrating their riding horses through the air)
A motif, purely descriptive, which represents the Valkyrie-sisters riding on horseback through the
air to gather a host of slain heroes whom the Valkyries as muses and angels of death have
inspired to martyrdom in unwitting service of Wotans futile longing to redeem the gods from
Alberichs curse on his Ring
(#91s motival links, if any, not yet ascertained; it is perhaps best understood as one of the
Motions of Nature)
[[#92abc]] Siegfried the worlds noblest hero fearless and innocent because he does not
know who he is
(#92 is in the family of heroic motifs stemming from the last three notes of #53; it is therefore
related to #1, #2, and #3, and through #1 to #57b; this heroic family of motifs
includes #71, #77, #88, #95, and perhaps #152)
[[#93]] Sieglindes praise of Bruennhildes heroic service to the Waelsung race as the "Sublimest
Wonder"
Popularly but incorrectly known as the Redemption Motif or Redemption by Love Motif;
Currently known as the Glorification of Bruennhilde, or as Wagners Hymn to Heroes
(#93 is in the family of motifs which includes #8, #23, and #149. Cooke regards the motifs of this
family as unified under the theme of Womans Inspiration, but that doesnt really sum up their
meaning.)
[[#94]] Wotans intent to punish Bruennhilde by putting her to sleep, defenseless, for any man to
wake and win her as his bride
Since Bruennhilde is Wotans repository for Wotans unspoken secret, which he confessed to her,
he has placed her at risk of exposing his secret hoard of knowledge to the man who wakes and
wins Bruennhilde, and thus falls heir to Wotans hoard of runes.
[[#95]] The Valkyries protest against Wotans intent to leave Bruennhildes divine Valkyrie
chastity free for any passing man to sully
By leaving the virgin Bruennhilde asleep, Wotan intends to leave her vulnerable to the shame of
being wooed and won by a common mortal. The Valkyrie muses ostensibly inspire Wotans chosen
heroes to martyrdom without having sexual union with them, so Wotans intended punishment of
Bruennhilde will deprive her of her divine status as a Valkyrie.
(#95 is a compound motif comprised of #88 and #92; it is part of the family of heroic motives
stemming from the last three notes of #53, which also includes #71, #77, #88, and perhaps #152)
[[#96ab]] Bruennhildes appeal to Wotan to refrain from debasing her for doing what he, in his
innermost self, desired
Bruennhilde appeals to Wotan to refrain from debasing the ageless part of himself, Bruennhilde,
by leaving her (and thus his unspoken secret, which she keeps) vulnerable to be won and wed by
a common, unheroic man (i.e., by a man who is not, like Siegfried, an unconsciously inspired
artist-hero)
(#96ab is in the family of motifs deriving either from #21s Embryo, or the Definitive Motif #21,
which includes #28, #32b, #60, #62, #81AB, part of #83, #137, and #164; through inversion
of #21, it is indirectly related to #47 and #82)
[[#97]] Wotan puts Bruennhilde to sleep on a mountaintop after taking her godhead away,
ostensibly to punish her by leaving her to be won by any man who wakes and finds here, but
actually so that the artist-hero Siegfried will win her love
Commonly called Bruennhildes Magic Sleep. Wotan prepares to leave the repository of his
unspoken secret (the secret hoard of knowledge he obtained from Bruennhildes mother Erda
Mother Nature), his unconscious mind Bruennhilde, asleep, so that his heir, the artist-hero
Siegfried, can wake and win her. In this way Siegfried can safely draw subliminal inspiration from
Wotans abhorrent self-knowledge, through loving union with his muse Bruennhilde, to produce
an art which will redeem the world from Alberichs curse of consciousness
(#97 based on #32b Godhead Lost, with perhaps some influence of #33b. Cooke notes #97also
contains some #19 harmony.)
[[#98]] Bruennhildes plea to Wotan to protect her vulnerable sleep with hideous terrors, so only
a fearless hero (the Waelsung Siegfried) can win her love
Only an authentically unconsciously inspired artist-hero, such as Siegfried, ought to have access
to Wotans
fearful secret, which he cant bear to say aloud. His unspoken secret is his repressed knowledge
that religious faith is predestined to destruction by mans advancement in knowledge, and can only
live on as feeling, in secular art, the Wagnerian music-drama. It is this secret which Bruennhilde
will subliminally, musically, impart to her lover Siegfried.
(#98, being pentatonic, seems most closely related to the family of motifs, the so-called Voices of
Nature, which includes #4, #128ab, #129ab, and #174abc)
[[#99]] Wotan expresses his deep love and affection to Bruennhilde, in parting from her forever
Wotan will leave his unconscious mind, the repository for his unspoken secret, Bruennhilde, to a
man freer than the god, the secular artist-hero Siegfried. Siegfried is freer than the god Wotan
because, as a secular artist-hero, Siegfried is free from the constraint of religious belief, which
stakes a claim to the power of the truth (the Ring) which - because religious faith is self-deception
- cant be sustained in the face of mans advancement in knowledge.
(#99s motival links, if any, not yet ascertained; Dunning believes #99 may be related to #106.
Does any of the accompaniment for #99 generate #163?)
[[#100]] Loges Protective Ring of Magic Fire with which Wotan protects Bruennhilde from
all wooers except the fearless Siegfried
Loges protective ring of fire around Bruennhilde represents the veil of Maya (illusion), or Wahn,
with which man in the mytho-poetic phase of human history (the religious phase) hides the
unbearable truth from himself (that he is merely a product of nature, subject to its laws and to
egoistic impulse, with no divine spark), and substitutes for this truth the illusion that he has
transcendent value, an illusion held to be the truth
(#100 is a variant of #35; it is thus from the family of #35-generated motifs which
include #42, #43, #154, and related to #48 and #49)
Siegfried
[[#101]] Second Motif of Mimes Scheming

Representing Mimes intent to bring up Siegfried, without teaching Siegfried fear, so that Siegfried
can kill Fafner and win for Mime Alberichs Ring and Tarnhelm. Mime represents all that Wotan
loathes in his own nature, the hoard of abhorrent self-knowledge which Wotan repressed into his
unconscious mind by confessing it to Bruennhilde.
(#101 is based on #36 with #19s harmony, while #36 in turn is based on #27. #101, #36,
and #27 are in the family of motifs which includes #44 and #116)
Prelude: ([[ #101 ]], #46, #41, #5a over #41, #46 over #5/#41, #46b, #46/#41,
5b/#41, #45/#41, #19 and #19 Varis; #57; #41 over #5b, #41/#5a: The curtain rises. A cave in the
forest. Inside it is a natural forge, with a large set of bellows. At the anvil in front of it sits Mime,
busily hammering at a sword.)
Mime: (pausing) Punishing torment! Toil without purpose! (#41>>) The finest sword that I ever
forged would have held quite firm in Giants hands: (#41>>) but the rascally lad for whom I
wrought it bends and snaps it in two as though Id made some childish trinket!
(Mime ill-humouredly throws the sword down on the anvil, sets his arms akimbo and stares are
the ground in thought. [[ #101 ]]; #57 Fragment; #41) One sword there is (#57 Fragment) which
hed never shatter: Nothungs fragments hed not defy, (#41; [[ #102? ]]) could I but weld the
mighty shards which no art [Kunst] of mine can piece together. (#57; #41; #92?) If only I could
forge it for that hothead, Id find a due reward for all my shame! ([[ #101 ]]; #48: He sinks further
back, lowering his head in thought.) Fafner the grim-hearted dragon, dwells in the gloomy wood;
(#48) with the weight of his fearsome bulk he watches over the Nibelung Hoard there.
(#48; [[ #101 ]]; #57 frag) To Siegfrieds childlike strength Fafner would no doubt fall. [[ #101?
]]; #19) The Nibelungs Ring (#19) hed win for me. One sword alone befits the deed (#57) and
only Nothung serves my grudge [Neid], if Siegfried wields it with fell intent: (#20b/#33b
Fragment) [[ #102 ]] yet I cannot forge it, Nothung the sword!
[[#102]] Mimes inherent inability to re-forge Nothung, due to lack of authentically unconscious
inspiration
Mime is unable to re-forge Nothung, or forge any other swords which could meet Siegfrieds
demands, because Mime is too wise, too conscious of his own ulterior, egoistic motives. Mime
therefore is also incapable of achieving redemption through the restoration of lost innocence.
Mimes inability to forge adequate swords for Siegfried, or re-forge Nothung, is Wagners
metaphor for Wotans need for a hero sufficiently free from Wotans egoistic influence, to forge
his own identity.
(#102s motival links, if any, not yet ascertained; however, #102s notes seem to correspond with
the first half of #158, the motif to which Gunther and Siegfried sing their oath of blood-
brotherhood, though the harmonies are different; the implication would be that Gunther is
unheroic, an unworthy blood-brother for Siegfried. Dunning detects #37s influence.)
[See #101 for #102s dramatic context]
[[#103]] Siegfrieds Youthful Horncall, Siegfrieds vital force

This motif expresses Siegfrieds vital force, an innocent will unfettered by Wotans intellectual
conflicts, self-doubt, or corrupt history, which Wotan has put out of commission, consigned to
oblivion, by repressing them into his daughter Bruennhilde during his confession. Because
Bruennhilde holds this paralyzing knowledge for Siegfried, Siegfried can freely create redemptive
art without suffering from Alberichs curse of consciousness.
(#103 in the family of diatonic nature arpeggios such as #1, #12, and #56)
Siegfried: [[ #103 ]]: In wild forest clothing, with a silver horn on a chain, bursts in from the
forest with sudden impetuousness, driving a large bear which he has tethered with a length of rope
and which he now sets on Mime in boisterous high spirits) (:Still outside) [[ #103 ]]Hoiho!
(entering: #103) Hoiho! (#103) Tuck in! Tuck in! (#103) Gobble him up! Gobble him up! The so-
called smith.
(Laughing. Mime drops the sword in terror and takes refuge behind the forge: wherever he runs,
Siegfried continues to drive the bear after him.) ()
Siegfried: (sitting down in order to recover from his laughter) I was seeking a better companion
than the one sitting here at home; [[ #103 ]] deep in the forest I wound
my horn till it echoed far and wide: would some good-hearted friend be glad to join me, I asked
by means of that sound.
[[#104]] Siegfrieds contempt for Mime as Wotans self-loathing

Siegfrieds contempt for Mime is actually Wotans self-loathing, because, thanks to Bruennhilde
(Wotans wish-womb), in whom Wotan planted the seed of his desire for a hero freed from all that
Wotan loathes in himself, Bruennhilde figuratively gave birth to Siegfried, who is Wotan reborn,
minus consciousness of his true, loathsome identity. Bruennhilde, Siegfrieds unconscious mind,
knows for Siegfried what he doesnt know himself, his true identity.
(#104s motival links, if any, not yet ascertained; possibly a basis of #145, though Dunning
regards #145 as in the Love Motif Family based on #25)
[#104 is introduced after Siegfried picks up the latest sword Mime has forged for him, to test its
mettle:]
Siegfried: Hey! What worthless toy is this? (#92) This puny pin you call a sword? (He smashes
it on the anvil, so that the splinters fly off in all directions. Mime cowers away in
terror.) [[ #104>>> ]] There, take the pieces you shameful bungler: [[ #104 scale vari ]] if only Id
smashed them against your skull! How much more must the braggart dupe me? [[ #104>>> ]] He
prates about giants and well-fought battles, of doughty deeds and well-made arms; hed make me
weapons and fashion swords; he vaunts his art [Kunst] as though he could do aught aright: when
I take in hand whatever hes hammered, I can crush the trash in a single grip! [[ #104 scale vari
]] Were the knave not simply too scurvy, Id smash him to pieces with all his smith-work, the old
and addle-headed elf! [[ #104 >>> ]] My anger were then at an end!
(#104 [sounding like laughter]: In his anger Siegfried throws himself down on a stone bench.
Mime continues to keep out of his way.)
Mime: (#104 [still sounding like laughter]) Now youre raving again like a madman: your
ingratitudes gross indeed. If I dont do everything right for the wicked boy straightaway,
(#41Duple vari) he all too soon forgets whatever good Ive done him! (#104 >>; #Music lyrically
suggestive of nature) Will you never recall what I said about being grateful! You should willingly
obey him whos always proved kind towards you.
[[#105]] The debt Mime claims Siegfried owes Mime

Sometimes known as Mimes Starling Song - Siegfried finds Mimes claim on him, Siegfrieds
alleged debt to Mime, abhorrent and intolerable. Siegfrieds resistance to Mimes claim expresses
Wotans desperate desire for a hero freed from Wotans (egoistic, Mime-like) influence, who will
nonetheless perform the action which the gods need (kill Fafner and take possession of Alberichs
Ring so Alberich cant regain its power)
(#105 based on an embryo in Flosshildes vocal line while leading Alberich on in R.1:
Flosshilde: (#105 Embryo) Your piercing eyes, your bristling beard, might I always see and hold
them. (#105 Embryo) May your prickly hairs unruly locks flow round Flosshild forever!; basis
of #111 and #127)
Mime: But again you refuse to listen! (He stands there, perplexed; then he goes to the kitchen by
the hearth: #41 Duple Vari; #Voc?) No doubt youd like some food. Ill fetch the roast from the
spit: or would you like to try the broth? I boiled it thoroughly for you.
(He offers Siegfried some food; without turning round, the latter knocks the pot and roast meat out
of Mimes hands: #104)
Mime: (in a pitifully screeching voice: #41 duple Vari; #102 chromatic Vari) Thats the sorry
wages of love! Thats the shameful reward for my cares! (#102 hint; [[ #105 ]] over #41 duple
Vari) From a suckling babe I brought you up, warmed the little mite with clothes: food and drink
I brought to you and tended you like a second self [heutete dich wie die eigne Haut]. And when
you grew bigger I waited upon you; I made you a bed so youd sleep more softly. I forged for you
toys and a winding horn; (#103; #41 duple vari >>>) to give you pleasure I gladly toiled: with
clever counsel I counseled you cleverly, with lucid lore I taught you wit. While, toiling and
sweating, I sit at home, you roam around to your hearts content: (#41Duple Vari >>; #5 >>)
Suffering torment for you alone, for you alone I suffer affliction and wear myself out, a poor old
dwarf! And thats my reward for the burdens Ive borne, that the quick-tempered boy torments
(sobbing) and abhors me!
(#102 Hint over #41 Duple Vari >>: Siegfried has turned around and looks calmly and
questioningly into Mimes eyes. Mime encounters Siegfrieds gaze and timidly tries to avert his
eyes.)
Siegfried: (#104 Vari >>>; #? [Music conveying a Nature mood, as heard previously when
Mime first said Siegfried should be grateful to him:]) Much, Mime, have you taught me and
much from you have I learned; but what you most wanted to teach me, I never managed to learn:
How I could ever abide you. (#104; (#105 Vari/#41 Duple Vari) Although you may bring me
food and drink, Im fed by my
loathing [Ekel] alone; (#105 Vari/#41 Duple Vari) although you make me an easy bed, (#104) I
still find it hard to sleep; (#41 Duple Vari) although you would teach me to use my wits, (#104)
Id still rather stay dull and stupid. (#104; #41 Duple Vari; #? [hint of Nature music]) I only need
set eyes upon you to recognize evil in all that you do. When I see you standing, shuffling and
shambling, week-kneed and nodding, blinking your eyes: (#104>>>) I long to seize the dodderers
neck and finish off the filthy twitching creature! Thats how Ive learned to abide you, Mime.
(#104)
[[#106]] A childs longing for his authentic parents

In answer to Siegfrieds question why Siegfried always returns to Mime even though Siegfried
despises him, Mime says that this proves Siegfried loves Mime as all children love their parents.
Mime is only Siegfrieds foster-father, but he has posed as Siegfrieds parents, both father and
mother, hiding from Siegfried his true heritage as a Waelsung
(#106 in same family as #22,#74, and #99; is #66 an influence?)
Siegfried: If youre so wise, (#? [Nature mood music]) then help me to know what Ive thought
about in vain: (#104) though I run off into the forest to leave you, how is it that I come back:
(#104 Varis; #Nature mood music; #98 Hint?) All the beasts of the forest are dearer to me than
you: (#76?) every tree and bird, the fish in the brook I can far more abide than you: - how is it,
then, that I always come back? If youre so clever, then tell me why.
Mime: (Mime tries to approach him, confidingly: [[ #106 ]]; #41 Duple Vari) My child, that makes
you understand how dear to your heart I must be.
Siegfried: And yet I cant abide you do not forget that quite so quickly!
Mime: (#41 duple vari; #102 vari?: recoiling and sitting down again at the side, facing Siegfried)
For that you must blame your wildness which you ought to curb, you wicked
boy. ([[ #106 ]]; [[ #107 ]] Whimpering, young things long for their parents nest: love is the name
of that longing; ([[ #106 ]]; #107 Vari) so you, too, pine for me, so you, too, love your Mime so
you have to love him. ([[ #107 ]]; #102 hint?) What the baby bird is to the bird [surely this should
be: What the bird is to the baby bird], when he feeds it in the nest, before the fledgling can fly,
such to you, my childish offspring, is wisely caring Mime such, to you, he must be.
Siegfried: Hey, Mime, if youre so clever, tell me one thing more! (#106 >>; #25 Hint?) In spring
the birds would sing so blithely, (tenderly) the one would entice the other: you said so yourself
since I wanted to know (#106 >>) that these were fathers (tenderly) and mothers. [[ #108 ]] they
dallied so fondly, not leaving each
other but building a nest and brooding inside it: (#104 [as a birdcall
foreshadowing #128fragment?]) young fledglings then would flutter out and both of them tended
their brood. (#? [Birdcalls]) (#106; #25) Deer, too, would rest in pairs in the bushes with even
wild foxes and wolves: (#106 Varis >>>; the father brought food to the lair, the mother suckled
the whelps. There I learned the meaning of love: [[ #108 Vari ]] from their mother I never took the
whelps. (#106; #25) [[ #108 ]] Where, Mime, is your loving wife, that I may call her mother?
Mime: (angrily) Whats wrong with you, fool? How stupid you are! Youre neither a bird nor a
fox.
Siegfried: (#105) From a suckling babe you brought me up, warming the little mite with clothes: -
but how did you come by the childish mite? You made me, no doubt, without a mother .
Mime: (in great embarrassment) You have to believe what I tell you. Im your father and mother
in one.
Siegfried: (#104) Youre lying, you loathsome fool! (#? [a different sort of Nature-Mood music
with oscillating chords]) That the young look like their parents Ive luckily seen for myself. When
I came to the limpid brook, I glimpsed trees and beasts in its glassy surface; sun and clouds, just
as they are, appeared in the glittering stream. (#92) And then I saw my own likeness too, (#71)
quite different from you I though myself then: (#41/#5 Vari) as like to a toad were a glittering fish,
though no fish ever crept from a toad. (#3?)
Mime: (#3?: Deeply annoyed) What frightful nonsense youre spouting there!
[[#107]] A childs longing for the sanctuary of his authentic parents home (nest)
[[#108]] Siegfrieds question to Mime: since All animals and humans have loving fathers and
mothers, where, Mime, is your loving wife, that I can call her mother?
[[#109]] Siegfried reconnects with his heroic Waelsung heritage through the pieces of
Siegmunds broken sword, Nothung
Wotans broken sword Nothung (formerly wielded by Siegmund) represents the well-hewn
causeway laid down by all past heroes of religio-artistic endeavor, Siegfrieds heritage as an
artist-hero, from which Mime representative of established society, which is predicated on fear
- has hidden from Siegfried.
(#109 is a compound motif comprised of #57 and #103, thus conceptually linking Siegfried
Siegfrieds Youthful Horncall #103 with Wotans Grand Idea for Redemption and Siegmunds
sword Nothung, both represented by #57ab; see #57 and #103 for motival links)
[Having forced Mime to confess that Mime was merely posing as Siegfrieds parents, and that his
true parents were Sieglinde (who died giving Siegfried birth) and her husband (Mime claims
Sieglinde never told him Siegfrieds fathers name), Siegfried insists on proof:]
Siegfried: (#106 Varis) If Im to believe your story, and if you havent lied to me, then let me see
some proof!
Mime: What else would prove it to you?
Siegfried: I wont believe you with my ears, but only with my eyes: what evidence bears you
witness?
Mime: (#101; #57ab; #41: reflecting for a moment, then fetching the two pieces of a broken sword)
Your mother gave me this, (#57/#41 fragment) for trouble, board, and care, she left it as paltry
payment. See here, a shattered sword! Your father, she said, had borne it when he fell in his final
fight. [[ #109 ]]
Siegfried: (enthusiastically: #103 end fragments) and these fragments you shall forge for me: then
Ill wield my rightful sword! (#104>>>) Come on now, Mime, bestir yourself and be quick about
it; if theres aught youre good at, then show me your art [Kunst]! Dont try to trick me with
worthless trinkets: (#57 Vari/#104>>>) In those shards alone do I place any trust. ()
Mime: (anxiously) What would you do with the sword today?
Siegfried: [[ #110 >> ]]/#104 fragment) Go forth from the forest into the world: Ill never-more
return. [[ #110 ]]/#104 fragment) How glad I am to have gained my freedom, nothing binds or
constrains me! (#104 >>) Youre not my father, my homes far away; your hearths not my house,
nor my roof your shelter: [[ #110 ]] fleet as the fish as it swims in the floodtide, free as the finch
as it soars aloft, [[ #111 ]]
I fly from here and float away, wafting along like the wind over the woodland nevermore, Mime,
(#71 Vari Hero, #57 Vari, or #92c?) to see you again! (He runs into the forest)
Mime: (in the utmost fear) Stop! Stop! Where are you going? Hey! Siegfried! Siegfried!
Hey! (#110 Varis and Fragments; #111 Varis and Fragments: He gazes in astonishment as
Siegfried rushes away.)
[[#110]] Siegfrieds joyful feeling of emancipation from Mime and his abhorrent claims on
Siegfried
Siegfried, having forced Mime to restore Siegfrieds lost heritage, the two pieces of Nothung, will
now go forth from the forest and into the world with his newly re-forged sword.
(#110s motival links, in any, not yet ascertained)
[[#111]] Siegfrieds declaration of independence from Mime

Commonly known as Siegfrieds Mission the fact that #111, which expresses Siegfrieds
alleged freedom from Mime and his claims, is derived from Mimes Starling Song #105, to which
Mime sang of all that Siegfried owes Mime, suggests that Siegfried is not as freed from his debt
to Mime as Siegfried feels.
(#111 is based on Mimes Starling Song #105; it is the basis for #127)
[[#112]] The First Wanderer Motif: Wotan accumulates a hoard of knowledge while
wandering into and over the earth (Erda)
The god Wotan, Wagners metaphor for Feuerbachs collective, historical, and religious man,
gradually accumulates that very hoard of objective knowledge of the world (Erda), through
historical experience, which will inevitably undermine mans belief in the gods in the course of
time
(#112s motival links, if any, not yet ascertained; however, Dunning suggests a possible link
with #35; Cooke also suggested a link with Loge motifs such as #33ab. Loge restlessly wanders
the heights and depths of the world, as does Wotan.)
Mime: (He returns to the forge and sits down behind the anvil.) Away he storms! (#102Vari?)
and here I sit: (#101) to my age-old Noth (#19) I can now add a new one; (#19?) Im well and
truly trapped! (#41; #101?) How can I help myself now? (#41; #101) How shall I hold him fast?
(#41) (#48) How lead the hothead (#41) to Fafners lair? (#41/#5>>>) How join the shards of
insidious steel? (#41) No furnaces fire can fuse these sterling splinters, (#41) nor any dwarfs
hammer subdue their stubborn strength: (harshly: #102 Vari) the Nibelungs envy [Neid] need
[Noth] and sweat cannot join Nothung together (sobbing: [[ #112 ]] nor weld the sword and
make it whole!
(He sinks down in despair on the stool behind the anvil.)
Scene Two: ([[ #112 ]]: The Wanderer (Wotan) enters from the forest through the door at the back
of the cave. He is wearing a long, dark-blue cloak; he carries a spear as a staff. On his head he
wears a hat with a broad, round brim, which hangs down over his face.)
The Wanderer: [[ #112 ]] Hail to you, wise smith! [[ #113 ]] To a way-weary guest youll not
begrudge your houses hearth! (#113 frag)
Mime: (#46?: starting up in terror) Who is it who seeks me out in the wildwood? Who tracks me
through he desolate forest?
The Wanderer: (Approaching very slowly, one step at a time: [[ #112 ]]) As Wanderer I am known
to the world: already Ive wandered widely [[ #113 >> ]] and over the Earths [i.e., Erdas] broad
back have ofttimes wended my way.
Mime: [[ #113 ]] Then wend your way further (#41) and dont rest here (#112 stopped chords)if
youre known to the world as Wanderer.
The Wanderer: [[ #113 Vari ]] With good men Ive rested as their guest, many have granted me
gifts: (#5?) for he whos ungracious fears misfortune.
Mime: Misfortune ever dwelt with me: (#30b or #33b or #97?) will you make it worse for the
wretch?
The Wanderer: (Still advancing slowly: [[ #113>> ]] Much Ive fathomed, much made out,
matters of moment Ive made known to many and many Ive saved from whatever irked them,
(#37 or #102?) cares that gnawed at their hearts [nagende Herzens-Noth].
Mime: (#5?) Though you skillfully scouted and spied out much, I need no scouts or spies here.
(#112; #36 or #101?) Alone and apart I wish to be (#37 or #101?) and let loiterers go on their way.
Wanderer: (again advancing a little: [[ #113 vari ]] Manys the man who thought himself wise but
what he needed [Noth] he did not know. (#113) I let him ask me what might avail him: my words
he found worth while.
Mime: (increasingly anxious, as he watches the Wanderer approach: [[ #112 ]]; #36 or #101?)
Many men garner idle knowledge: I know just as much as I need; (the Wanderer has advanced as
far as the hearth: #41/#5) my wits suffice, I want no more: Ill show you on your way, you sage!
[[#113]] The Second Wanderer Motif (ascending):

Wotan wanders over the earth (Erda) seeking two kinds of knowledge: (1) objective knowledge,
which instills existential fear; and (2) subjective knowledge, aesthetic intuition, through which
Wotan can redeem himself from fear, i.e., from the hearts Noth the legend of the Wandering
Jew who seeks, but can never find, redemption.
(#113s motival links, if any, not yet ascertained; however, Dunning suggests a possible basis
for #113 in #20b, the second segment of the Valhalla Motif #20)
[[#114ab]] Wotan stakes his head (Mime) in a contest of knowledge with Wotans heart
Mime fails the contest of knowledge, and must lose his (Wotans) head to Wotans heart, Siegfried,
because Mime is too wise, too conscious of his egoistic motives, to find the sole path to
redemption, feeling (love).
"Wanderer: (#21: sitting down at the hearth) (#112) I sit by the hearth here and stake my head as
pledge in a wager of wits: (#21; [[ #114 ]] my head is yours to treat as you choose, if you fail to
ask what you need to know and I dont redeem it with my lore.
(#41; #87 Hint?: Mime, who has been staring open-mouthed at the Wanderer, now starts violently)
Mime: (pusillanimously to himself) How can I rid myself of this intruder? (#101) My questions I
must couch with care.
(#101: He pulls himself together, as if determined to show strictness.)

Mime: (aloud: #21) As pledge for my hearth, I accept your head: (#112 Fragment) Take care to
redeem it with thoughtful reply! [[ #114a ]] Three are the questions I freely ask.
Wanderer: (#96?; #21/#41) Thrice I must hit the mark.
[[#115]] Former Power of the Gods, and future destruction of the Gods
(#115s motival links uncertain; Cooke describes #115 as a #21 variant based on its inversion, and
transformation into a stepwise form; Millington considered it a relative of the Valhalla Motif #20;
however, it sounds very like #1 could it be a #53 variant, with perhaps #20harmony?)
[Having already asked Wotan rhetorical questions (because Mime already knew their answer)
about his knowledge of the earths [i.e., Erdas] Navel-nest [Erde Nabelnest Umbilical Nest],
i.e., of black-Alberichs realm Nibelheim, and of the earths [i.e., Erdas) broad-back, the realm of
Giants, Mime now poses his last question to Wotan the Wanderer:]
Mime: (#41/#17; #101) now tell me truly, which is the race that dwells on cloud-covered
heights?
Wanderer: (#21 vari) On cloud-covered heights, there dwell the gods: (#20a >>) Valhalla is their
hall. Light-elves they are; Light-Alberich, Wotan, rules their host. (#2/#53) From the World-Ashs
holiest bough he made himself a shaft: (#21) though the trunk may wither, [[ #115 ]] the spear
shall never fail; (#21) with the point of that weapon [[ #115 ]] Wotan governs the world.
(#21) [[ #116 ]] Hallowed treaties binding runes (#26a?) he whittled into its shaft: [[ #115 ]] he
who wields the spear (#21) that Wotans fist still spans [[ #115 ]]; #45) holds within his hand
control over all the world. (#5?) Before him bowed (#17) the Nibelung Host; (#45) The brood of
Giants was tamed by his counsel: [[ #115 ]]; #112) forever they all obey the mighty lord of the
spear!
(#21: In an apparently spontaneous gesture he strikes the ground with his spear; a distant role of
thunder can be heard, causing Mime to jump violently.)
In T.P.A, a more Definitive version of #115 which heralds the fated burning up of the gods in their
hall, Valhalla, is heard:
Third Norn: (catching the rope [of fate] and throwing the end behind her: #77 dysrhythmic hint?)
Built by Giants, the stronghold towers aloft; with the hallowed kin of gods and heroes (#54 Vari)
Wotan sits there within the hall. [[ #115>> ]] A rearing pile of rough-hewn logs towers on high
around the hall: (#146) this was once the World-Ash Tree. When the timber blazes brightly in
sacred fire, when its embers singe the glittering hall with their searing heat, (#21) the downfall
(#54) of the immortal gods (#20a) will dawn for all eternity! (#87 plus drums)
[[#116]] Hallowed contracts allegedly binding runes, which Wotan whittled into the Spear he
made from the most sacred branch of the World-Ash Tree
By making his spear of divine authority and law - containing the social contract which Wotan
never intended to honor - from the most sacred branch of the World-Ash Tree, Wotan delivered a
fatal wound which eventually made the World-Ash wither and die, and dried up the sacred spring
which formerly trickled out from its roots, whispering wisdom
(#116 is in the same family as #27, #36, #44, and #101: the original, archetypal contract Wotan
engraved on his spear, he intended to break)
[[#117]] Mimes conspiracy of one to outwit the Wanderer and prompt Siegfried to kill Fafner
and win Alberichs Ring for Mime
Wanderer: (#113) You ought to have asked what you needed to know; (#112) my head stood bail
for knowledge: (#21; #83 vari?) since you still do not know what you need to know, Ill take yours
now in pledge. (#21) (#113 Vari) Your greeting, I thought, was unfit for a guest; into your hands
I gave my head to enjoy the warmth of your hearth. By the rules of the wager Ill take you as pawn
if you cannot easily answer three questions: (#21) so, Mime, pluck up your courage! [[ #117 Hint
]]
Mime: (#41?: very timidly and hesitantly, but finally pulling himself together in frightened
submission: [[ #117 ]]) Its long since I quit my native land, long since I left my mothers womb;
(#20a) Wotans eye has lighted upon me [Siegfried is Wotans missing eye] (looking briefly and
surreptitiously at the Wanderer: #20a) into my cave he peered: my mothers wit grows weak before
it. #117>>) But since I now need to be wise, Wanderer, ask away! (#41; #101?) Perhaps, when
forced, I may yet succeed in redeeming the head of the dwarf. (#17; #71)
[[#118]] Mimes (Wotans) wise head forfeit to the hero who alone can re-forge Nothung and
redeem the world by restoring lost innocence, the fearless Siegfried, Wotan's heart
[Mime has already accurately answered Wotans first two questions: (1) the name of the race
towards which Wotan acted badly, yet was dearest of all to him [the Waelsungs], and; (2) the name
of the sword Siegfried would have to wield in order to fulfill Mimes intent that Siegfried kill
Fafner:]
Wanderer: (#117) Youre the wittiest of the wise, who could match you in cunning? (#117) But
if youre so sly as to use the childish hero to further your dwarfish ends, I threaten you now with
the third of my questions! (#41 >>) Tell me, you wily weapon-smith, who do you think will
forge (#92) Nothung, the sword, out of these mighty fragments?
(Mime starts up in utter terror.)
Mime: (in a screeching tone of voice: #104 >>>>) The fragments! The sword! Alas! My heads
swimming! Whatever have I started! Whatever am I thinking of? Alas that I ever stole you!
(#5/#104>>>>) It has trapped me in torment and need [Noth]; it remains unyielding, I cannot
hammer it: rivets and solder fail me completely! (like a man no longer in possession of his wits,
he throws his tools around and breaks out in utter despair: #41 Duple Vari) The wisest of smiths
is now at a loss: (#102 vari) wholl forge the sword if I cannot do so? How should I know of this
wonder?
Wanderer: (Having risen calmly from the hearth: #112) thrice you were meant to question me,
thrice I was at your disposal: you asked after (#46?) futile, far off [Fernen] things; (#37 vari) but
what concerned you most closely (#37 vari) and what you most needed to know, you omitted to
ask. (#57; #21/#41) Now that Ive guessed it, you lose your wits: Ive won your wily head. (#41)
Now, Fafners valiant (#48) conqueror, listen, you ill-fated dwarf: [[ #118 ]]only he who never
knew fear (#57/#34) will forge the sword anew. (Mime stares at him, wide-eyed: he turns to
go: #34) henceforth ward your wise head well: (#26a?; #92) Forfeit I leave it to him (#71 vari
Hero &/or #92c?) who knows not the meaning of fear!
(#34: He turns away, smiling, and disappears quickly into the forest. Mime has sunk down on the
stool as though crushed.)
[[#119]] Siegfried reclaims his father Siegmunds sword Nothung

By re-forging his father Siegmunds sword Nothung, Siegfried reestablishes his broken link with
the great heritage of culture-heroes, who have sustained mytho-poetic civilization by perpetuating
mans illusion that he has transcendent value. Siegfried thus inherits Wotans futile longing to
restore lost innocence, to redeem the world from Alberichs curse of consciousness. In this way
Siegfried unwittingly falls heir to Wotans sin against Erdas (natures) knowledge of all that was,
is, and will be, the sin which Alberichs curse punishes.
(#119 based on #57a, the octave drop on Ende in Erdas vocal line as she sings that all things
that are, Ende, except that in this case the octave jumps upward)
[Since Mime was incapable of re-forging Siegfrieds fathers sword Nothungs two halves into
one, Siegfried has pushed him out of the way in order to re-forge it himself through aesthetic
intuition rather than learning:]
(While Siegfried continues filing down the fragments of the sword with impetuous enthusiasm,
Mime goes and sits somewhat further away.)
Mime: (#103 Fragment >>) hell succeed with the sword, I can see that clearly: (#117?; #33b?)
fearless, hell furbish it whole, (#117/#33b) the Wanderer knew he would! (#5/#34) How can I
save my timid head? (#92) It will fall to the valiant lad if Fafner doesnt teach him fear!
(#103 Fragments: Leaping up with mounting disquiet and then stooping down) (#48>>) But alas,
poor me! For how could he slay the dragon if hed first learnt fear from the beast? How could I
win the Ring for myself? (#17 >>) [is this #117?] Accursed quandary? Id be firmly stuck if I
couldnt find some clever means by which to defeat the fearless lad.
(Siegfried has filed down the fragments and collected them in a crucible, which he now places on
the forge fire.)
Siegfried: Hey, Mime! Quick! Whats the name of the sword that Ive spun out into splinters?
(#57)
Mime: (Starting in surprise and turning to Siegfried: #119 fragment) Nothungs the name of the
fearsome sword: your mother told me the tale.
Siegfried: (#103 frag>>: While singing the following, Siegfried fans the flames with the
bellows) [[ #119 ]] Nothung! Nothung! Fearsome sword! Why did you have to shatter? [[ #120>>
]] Ive turned your sharp-edged pride to chaff, in the melting pot I smelt the
splinters. (#119 Harmonic Vari/#103 Fragments) Hoho! Hoho! Hohei! Hohei!
Hoho! [[ #121 ]] Blow you bellows, fan the flames! [[ #120>> ]] Wild in the woodland grew a
tree: I felled it in the forest: the fallow ash I burned to charcoal. It
now lies heaped on the hearth! (#119/#103 Fragment >>) Hoho! Hoho! Hohei! Hohei!
Hoho; [[ #121 ]] Blow, you bellows, fan the flames!
[[#120]] Siegfrieds Smelting Song

Siegfrieds re-forging of his father Siegmunds (ultimately, Wotans) sword Nothung, the
embodiment of Wotans grand idea for redemption. Siegfrieds re-forging of Nothung is Wagners
dramatization of Wotans futile hope that the free hero he longed for could create (or forge) himself
(#120 possibly related to #105, and thus to #111 and #127)
[[#121]] Siegfrieds blowing of the bellows while smelting Nothung

[[#122]] Nothung as Siegfrieds fiery Phallus the natural necessity of Loges (Siegfried the
artist-heros archetype) authentically inspired artistic creativity cooled and stiffened in the
bucket (womb) of water (a metaphor for the Rhine, and for Siegfrieds cooling the fire which is
consuming his heart, in Bruennhildes flood)
(#122 transforms into #123; their other motival links, if any, not yet ascertained)
Mime: (Downstage aside: #46 Fragment) When hes fought himself weary with the dragon, a
drink may refresh him from his efforts. (#30 Vari; #97 Vari) From herbal juices Ive gathered, Ill
brew a drink for him; (#97 [strongly emphasized!!!) Hell need to drink only very few drops before
sinking, senseless, into sleep: (#109 Vari) with the selfsame weapon he won for himself (more and
more animatedly: #109?) Ill easily clear him out of the way and attain to both Ring and hoard.
(He rubs his hands with glee.) Hey, wily Wanderer, though you thought (#120>>) me a fool, how
does my subtle wit (#41?) now suit you? Have I not won me respite and peace? (#109)
Siegfried: (#119 >>) Nothung! Nothung! Fearsome Steel! Now your chaff-like steels been melted
down: youre swimming in your own sweat.
(#109: He pours the red-hot contents of the crucible into a mould, which he holds aloft.)
Siegfried: soon Ill wield you as my sword!
(He plunges the mould into a bucket of water: steam and loud hissing follow as it
cools: #121Chromatic Vari)
Siegfried: A river of fire flowed into the water: in furious anger it fiercely hissed. Searingly as it
flowed, it flows no more in the waters flood; [[ #122>> ]] rigid and stiff its become, lordly the
tempered steel. (#57 or #109?) Soon it will flow with hot blood!
(#57 or #109?: He thrusts the blade into the forge fire and works the bellows vigorously; #120>>:
Mime has leapt up gleefully; he fetches various containers and from them pours spices and herbs
into a cooking-pot, which he tries to place on the hearth.)
Siegfried: (#120) Now sweat once again, so I can weld you, (#119; #103 Fragment) Nothung, you
fearsome sword!
([[ #123 ]] While working, he observes Mime, who carefully places his pot over the flames at the
other side of the hearth.)
Siegfried: (#122>[[ #123 ]] Whats that blockhead doing there with his pot? (#123) While Im
smelting steel, are you brewing slops?
Mime: (#123 End Fragment and Vari) A smith has been put to shame: a boy is teaching his teacher;
the old mans lost his art [Kunst], he serves the child as cook. While he smelts the iron to pulp,
the old man cooks him broth from eggs. (He continues cooking)
Siegfried: (#121 Chromatic vari) Mime the artist [der Kuenstler] is learning to cook; (#41) hes
lost his taste for forging: (#103 Inverted Vari) Ive shattered every one of his swords; what hes
cooking Ill not savour.
[[#123]] Mime prepares his sleep-of-death potion for Siegfried, while Siegfried re-forges
Nothung
A metaphor for Wotans egoistic aim, that Siegfried should martyr himself in order to redeem the
gods (mans metaphysical impulse) from Alberichs curse on his Ring, the curse of consciousness
(#123 is a transformation or continuation of #122; their other motival links, if any, not yet
ascertained)
[[#124]] Siegfrieds Forging Song Siegfried ostensibly creates himself by re-forging his
father Siegmunds (ultimately Wotans) sword Nothung
Siegfried: (#121: During the following Siegfried removes the mould from the fire, breaks it, and
places the red-hot blade on the anvil: #120 mournful vari) He wants to lead me to where Ill learn
fear; a stranger will have to teach me: (#103 inverted vari) what he can do best he cant impart; he
remains a bungler in all that he does! (while forging: [[ #124 ]] Hoho! Hoho! Hohei! Forge, my
hammer, a hard-edged sword! Hoho! Hohei! Hoho! Hohei! [[ #124 >>>> ]]Blood once died your
faded blue; its bright red trickling made you blush: coldly then you laughed and licked the warm
blood cool! Heiaho! Haha! Haheiaha! [[ #124 >> ]] Now the glowing coals have made you glow
red; your yielding hardness yields to my hammer: in anger you spit out sparks at me for having
tamed your brittleness! (#123) Heiaho! Heiaho! Heiaho! Ho! Ho! Hahei! [[ #124 ]]/#123 End
Fragment; #109)
Mime (aside: [[ #124 >>> & Varis ]] Hes making a sharp-edged sword for himself to bring down
Fafner, the foe of all dwarfs: Ive brewed a false drink to trap Siegfried once Fafner has fallen
before him. My cunning is bound to succeed; my reward must smile upon me!
(During the following, Mime busies himself pouring the contents of the pot into a flask.)
[Siegfried repeats the Forge, my hammer sequence to #124>>]
Siegfried: ([[ #124 >>]] How I rejoice in the joyous sparks! The force of their fury adorns the
brave: delighting, you laugh upon me now, though you look grim and grudging! Heiaho!
() [[ #124 >> ]] Through heat and hammer have I succeeded; with mighty blows I hammered
you flat: now may your blushing shame disappear; be as cold and hard as you can!
(He brandishes the blade and plunges it into the bucket of water: #123) () (#121 Chromatic Vari:
He laughs aloud at the hissing noise. While Siegfried attaches the newly forged blade to the
hilt, #41: Mime fusses about with his flask downstage.)
[[#125]] Siegfried has re-forged the sword Nothung: Nothung triumphant

(#125s motival links, if any, not yet ascertained; Wagner employed #125 in his Siegfried Idyll.)
Siegfried: (#124>>) Though once in twain I forced you together, no blow shall ever break you
again.
Mime: (#123/#124/#41) For him [Mime] shall others mine the eternal treasure.
Siegfried: (#124>>) The steel sprang apart in the hands of my dying father; his living son (#123)
has made it anew: on him its brilliant sheen now shines, for him its keen-edged blade cuts cleanly.
Mime: (#41 shortened >>) Mime the valiant, Mime is king, (#123>>) prince of the elves, lord of
the universe!
Siegfried: (brandishing the sword in front of him: #119) Nothung! Nothung! Fearsome sword!
(#57 or #109?) Ive wakened you to life again. You lay there, dead, in ruins; [[ #125 ]] now you
glisten defiant and glorious. [[ #125 ]]
Mime: Hey, Mime, how did you manage! Whoever would have thought it?
Siegfried: To felons show your shining blade! [[ #125 ]] Slay him who is false (#120) and fell the
offender! (#103 Fragment) See, Mime, you smith: (he raises the sword to strike a blow: #57) thus
severs Siegfrieds sword!
(#103/#109/#57 varis: He strikes the anvil, which splits from top to bottom and falls apart with a
loud crash. Mime, who has climbed on to a stool in his delight, falls to the ground in terror, landing
in a sitting position. Siegfried holds the sword aloft. The curtain falls.)
[[#126ab]] Existential Fear (Fafner) the basis of religious faith and social stability
Fear is the ground of the social contract, religious faith and tradition: it is the basis for mans desire
for property, possessions, security, freedom from care, social stability and quiet, knowledge and
power which insures our survival,
abhorrence of change, and in a more abstract form, religious faiths existential prohibition on
intellectual inquiry, its taboo of all search into the roots of faith, all knowledge which might
undermine it. Siegfried must eliminate this fear, the basis of religious faith, in order to free art
from its service to religion (the gods)
(#126 based on #26ab)
Prelude: ([[ #126a ]]; #101 Vari; #17 Vari; [[ #126b
]]; #101 Vari; #17, [[ #126 ]]; #51, #50, #17/#50; #52; #45/[[ #126 ]]; #17 Vari; [[ #126 ]]; #45?)
Alberich: (#50:) In the forest at night I stand guard before Envy-Cave [Neidhoehle]. My ear is
cocked, my eye keeps effortful watch.
[#126 permeates the remainder of this gloomy scene, often heard whenever Fafner the Serpent
(Dragon) is mentioned, creating a portentous mood. Its syncopation sounds as if fear has induced
a missed heart-beat]
[[#127]] Wotans hope that in Siegfried he has found his free hero
Wotan says of Siegfried: let him stand or fall; his own master is he .
(#127 based on #105 and #111)
Alberich: (#50) How proudly you threaten with insolent strength, yet how fearful you are at heart!
(#51) Doomed to die through my curse is he who holds the hoard: - (#50) Who will fall heir to
it? (#17 or #19?; #37?) Will the coveted [neidliche] hoard once again belong to the Nibelung?
That fills you with endless care. For once I grasp it again in my fist, (#37?) then, (#17>>) unlike
foolish Giants, (#37?) Ill use the power of the Ring: (#15 Vari? [some music possibly associated
with Bruennhildes remark to Hagen and Gunther in T.2.5 that, unbeknownst to Siegfried, her
magic protects the front but not the back of his body from wounds?] then tremble, (#52 Vari)
eternal guardian of heroes! (#45) Valhallas heights Ill storm with Hellas [Nibelheims] host:
then I shall rule the world! (#20b/#33b)
Wotan: (calmly: #37?) I know your mind full well; it gives me no cause for worry: (#114a Vari)
He shall command the Ring who wins it.
Alberich: (more animatedly: #114a Vari) How darkly you speak of what I know clearly! (#57)
Defiant, you cling to heroes sons (mockingly: #40 or #64?) who are dearly descended from your
own blood. (#20c?; #? [evidently four notes from a motif I cant identify, which may be
important!!!!]) Havent you nurtured a boy who would cleverly pluck the fruit (with increasing
vehemence) which you yourself arent allowed to pick? (#81A)
Wanderer: Haggle with Mime, not with me: (lightly) your own brothers bringing you danger; hes
leading a youngster here whos meant to kill Fafner for him. Of me he knows nothing; the Nibelung
is using him for his own ends. And so I say to you, comrade, act in whatever way suits you!
(#101 Fragment: Alberichs gesture shows his violent curiosity)
Wanderer: (#114 vari) Mark me well and be on your guard: the boy doesnt know of the Ring but
Mimes found out about it.
Alberich: (forcefully: #101 frag) And would you withhold your hand from the hoard?
Wotan: Him whom I love I leave to his own devices; [[ #127 ]] let him stand or fall, his own master
is he: heroes alone can help me. (#47 or #82?)
Alberich: With Mime alone would I vie for the Ring?
Wotan: Save you alone, only he desires the gold.
[There is a crucial recurrence of #127 near the end of this scene:]
Wotan: [to Alberich] This one thing I advise you heed it well: (approaching him
confidingly: #2 >>) All things go their different ways [Alles is nach seiner Art]; you can alter
nothing [an ihr wirst du nichts aendern]. I leave the field to you: stand firm! Try your luck with
your brother, Mime; his kind you understand better. (Turning to go: #83s segment based
on #81?; [[ #127 Horns ]] as for the rest, learn that, too!
[[#128ab]] The First Woodbirdsong music as mans artificial bid to restore his lost innocence
(both #128 and #129 based on #4. #174abc, as a loose inversion of #4, is also related
to #128and #129. All of these pentatonic motifs are in the same family as #98.)
[I have reproduced the dramatic context for both #128 and #129 at greater length than normal
below because these two motifs and the libretto text with which they are associated in S.2.2. and
S.2.3 are of crucial importance in grasping the allegorical subject of the Ring:]
(#11: Siegfried stretches out comfortably beneath the lime-tree and watches Mime go.)
Siegfried: (#11/#2 Pattern) That he is not my father how happy I feel at that! Only now do the
fresh woods delight me; only now does the day smile upon me in gladness now that the loathsome
dwarf has left me and Ill nevermore see him again.
(He falls into a silent reverie: #Forest Murmurs; #11 [it develops now independently of the #2-
based framework])
Siegfried: What must my father have looked like? Ha! of course, like me! (#41?) If any son of
Mimes existed, (#41) must he not look just like Mime? (#7/#41) Just as filthy, fearful and wan,
short and misshapen, hunchbacked and halting, with drooping ears and rheumy eyes away with
the elf! I dont care to see him anymore!
(He leans further back and looks up through the treetops. Deep Silence. Forest
Murmurs: #11/#2 Definitive; #66)
Siegfried: But what must my mother have looked like? That I cannot conceive of at all!
(#66 >>; #106 Hint?) Like those of the roe-deer, her bright-shining eyes must surely have glistened
only far fairer! (#66; #89?) When, in her dismay, she gave me birth, why did she have to die
then? Do all mortal mothers perish because of their sons? (#37?) Sad that would be, in truth!
(#106; #40?) Ah, might I, her son, (#66) see my mother! (#40) My mother, (#66) a mortal woman!
(#38>>; #24/#11: He sighs deeply and leans further back. Deep silence. The forest murmurs
increase. Siegfrieds attention is finally caught by the sound of the forest birds. [[ #128ab ]]: He
listens with growing interest to a Woodbird in the branches above him: [[ #129ab ]]
Siegfried: (#11>>) You lovely Woodbird! Ive never heard you before: is the forest here your
home? Could I only make sense of his sweet-sounding babble! He must be telling me something
perhaps about my dear mother? [[ #128b ]] A querulous dwarf explained to me once that in time
one could come to unriddle the babbling of little birds: but how could that be possible? Hey! Ill
try and copy him: Ill sound like him on a reed! If I do without words and attend to the tune, (#98?)
Ill sing his language in that way and no doubt grasp what hes saying.
(#57 Vari [as Birdcall]; #98; [[ #129b ]]/#11: He runs over to the nearby spring, cuts a reed with
his sword and rapidly whittles a pipe from it. As he does so, he listens
again. (#128Fragments?; #129?)
Siegfried: He stops and listens: - Ill chatter away then. (He blows into the pipe: #129a Vari[off-
key]/#11: He removes it from his lips and whittles it down further
In order to improve it. He then blows again. He shakes his head and makes further improvements.
He tried again. He grows angry, squeezes the reed in his hand and tries once more. Finally he gives
up with a smile.)
Siegfried: That doesnt sound right; on the reed the delightful tune doesnt work. I think, little bird,
Ill remain a fool. From you its not easy to learn.
[Siegfried then decides to try to blow woodland tunes instead with his horn, which he has often
blown trying, but failing, to attract a boon companion. He decides to find out what boon companion
he might call up now, by blowing his own characteristic motifs such as #103, #92, and #109, but
his performance only wakes up Fafner, whose arrogance inspires Siegfried to kill him. Later, after
Siegfried has killed Fafner and accidentally tasted his blood, Siegfried does indeed learn the
meaning of the Woodbirdsongs #128 and #129, at least subliminally:]
Siegfried: [to the dying Giant Fafner] (#19 Vari?) Advise me yet on where I have come from;
(#17?) wise you seem, wild beast, in dying: (#92) divine it from my name: (#92c or #71 Vari
Hero?) Siegfried am I called.
Fafner: (sighing deeply: #126) Siegfried! (He rears up and dies. #126?; #48?)
Siegfried: the dead can serve as no source of knowledge. (#103?) So let my living sword now lead
me!
(Fafner, in dying, has rolled over on one side. #109: Siegfried now draws his sword from his breast;
as he does so, his hand comes into contact with the dragons blood: he snatches his hand away.)
Siegfried: Its blood is burning like fire.
(Involuntarily, he raises his fingers to this mouth in order to suck the blood from them. As he gazes
thoughtfully in front of him, his attention is caught increasingly by the song of the forest
birds. #11>>; (#128; #129)
Siegfried: Its almost as though [[ #128 ]] the woodbirds were speaking to me. Was this brought
about by the taste of blood? (#128 Fragment?; #108?) That strange little bird here. Listen! What
is it singing to me?
The Woodbird: (from the branches of a life-tree above Siegfried: [[ #129 ]]/#11>>>>) Hey!
Siegfried now owns the Nibelung Hoard: o might he now find the hoards in the cave! If he wanted
to win the Tarnhelm, it would serve him for wondrous deeds: but could he acquire the Ring, it
would make him lord of the world!
(#11 Vari: Siegfried has listened with bated breath and a rapt expression on his face)
Siegfried: (quietly and with emotion) My thanks for your good counsel, you dear little bird: (#92c
or #71 Vari Hero?) Ill gladly follow your call. (#17 Vari?: He turns to the back of the stage and
descends into the cave, where he soon disappears from sight.)
[After Siegfried descends into Fafners cave, Alberich and Mime have a fight over who most
deserves the spoils of Siegfrieds victory over Fafner, but Siegfried trumps them by unexpectedly
emerging from the cave carrying the Tarnhelm and Ring. Mime slips back into the forest:]
Alberich: (#17 or #19?) And yet it shall still (#59a) belong to its lord alone!
(He disappears into the cleft. During the foregoing, Siegfried has emerged from the cave, slowly
and pensively, with the Tarnhelm and Ring: sunk in thought, he contemplates his booty and again
pauses on the knoll in the middle of the stage.)
Siegfried: What use you are I do not know: (#12) but I took you from the heaped-up gold of the
hoard (#59b) since goodly counsel counseled me to do so. (#16>>) May your trinkets serve as
witness to this days events: may the bauble recall (#109: #59c) how, fighting, I vanquished Fafner
but still havent learned the meaning of fear! (#11: He tucks the Tarnhelm under his belt and puts
the Ring on his finger. Silence. Once again Siegfried involuntarily becomes aware of the bird.)
Voice of the Woodbird: [[ #129 ]]/#11>>) Hey! Siegfried now owns the helm and the Ring! Oh
let him not trust the treacherous Mime! Were Siegfried to listen keenly to the rogues hypocritical
words, (#128b or #98?) hed be able to understand what Mime means in his heart; thus the taste of
blood was of use to him.
(Siegfrieds expression and gestures show that he has understood the meaning of the Woodbirds
song. He sees Mime approaching and remains where he is on the knoll, resting motionlessly on his
sword, observant and self-contained, until the end of the following scene. Mime creeps back and
watches Siegfried from the front of the stage. #66)
[Mime, though hypocritically pretending to have Siegfrieds own interests at heart, unwittingly
reveals to Siegfried what he really thinks, thanks to the taste of Fafners blood (i.e., thanks to
having eliminated Wotans prohibition on the acquisition of forbidden self-knowledge, and
therefore having accessed mans unconscious mind). Thus Mime confesses his intent to drug and
kill Siegfried so Mime can win the spoils of Siegfrieds victory over Fafner, and Siegfried with
loathing and disgust kills Mime as hes proffering Siegfried a drugged drink. After leaving Fafners
and Mimes bodies in the entrance to Fafners cave, Siegfried has a final revelation from the
Woodbird:]
(He gazes down into the cave for awhile, thinking, then returns slowly, as though exhausted, to
the front of the stage. #126 Tympani/#41; #103 Fragment; [[ #17
Harmony ]]: He wipes his hand across his forehead.)
Siegfried: (#103) Im feeling hot from my heavy burden! (#103 Fragment?) My raging bloods
racing fiercely through my veins; my hand is burned by my brow. (#87 Hint or #97 Hint?; #20a
Vari?) The suns already high in the heavens: its eye stares down on the crown of my head from
the brilliant blue above. [[ #128b ]] Gentle coolness I choose beneath the lime!
(#128a?; #20a Vari?) He stretches out beneath the lime-tree and looks up again through the
branches.)
Siegfried: (#106) Once more, my dear little bird, since for so long we were rudely disturbed
(#106 >>; #107?) Id be glad to hear (#108) your song: on the branch I can see you blissfully
swaying, twittering, brothers and sisters surround you, fluttering gaily and lovingly round! But I
am so alone, have no brothers or sisters; my mother died, my father was slain. Their son never saw
them! (#131/#41) A loathsome dwarf was my only companion; (warmly) kindness never led us to
love; (#117?) He slyly set me cunning snares: - Now Ive had to slay him!
(He raises his eyes again, in painful emotion, to the branches above him.)
Siegfried: [[ #132a ]]; #37?) My friendly woodbird, I ask you now, (#106?) would you grant me a
boon companion? Will you advise me aright? (#108) So often Ive tried to attract one but never
yet obtained one: you, my dear friend, (#128b or #98?) would surely do better! Already youve
given such good advice. (ever more quietly: #17?; #11?) Now sing, Ill list to your song.
Voice of the Woodbird: [[ #129 ]]/#11) Hey! Siegfrieds now slain the evil dwarf! Now I know
the most glorious wife for him. High on a fell she sleeps, fire burns round her hall: [[ #128b ]], if
he passed through the blaze [[ #128b ]] and awakened the bride, Bruennhilde then would be his!
(Siegfried leaps up impetuously from his sitting position.)
Siegfried: [[ #132b ]] O welcome song! O sweetest breath! Its meaning burns my breast with
searing heat! How it thrills my heart with kindling desire! What courses so swiftly through heart
and senses? Tell me the answer, sweet friend! (He listens.)
Voice of the Woodbird: (#11/[[ #128b ]] Delighting in sorrow, (#128a?) I sing of love; [[ #128b ]]
blissful I weave (#128a?) my lay from woe: (#20a?) lovers alone can know its meaning.
Siegfried: [[ #132b ]] Exulting, it drives me away from here, out of the forest and on to the fell!
(#35; [[ #132b ]]) But tell me again, you lovely songster: shall I (#92) break through the fire?
(#92?) Can I awaken the bride?
(#132b/#98: Siegfried listens again.)
Voice of the Woodbird: [[ #128b ]] He who wins the bride and awakens Bruennhilde shall never
be a coward: (#129?) only he who knows not fear!
Siegfried: (Exultantly: #129?) The foolish boy who knows not fear, (#128b?) my Woodbird, that
is I! This very day I tried in vain (#48?) to learn from Fafner what fear may be. Now I burn with
longing to learn it from Bruennhilde: how shall I find my way to the fell?
(The bird flutters up, circles over Siegfried and flies off, hesitantly, in front of him.)
Siegfried: Thus shall the way be shown to me: (#92c or #71 Vari Hero or #57 Vari?) wherever
you flutter, there shall I follow!
(#129b Varis; #132b; #129b Varis: He runs after the bird, which teases him for a time by leading
him inconstantly in different directions before finally setting off in a particular direction towards
the back of the stage, with Siegfried in pursuit.)
[[#129ab]] The Second Woodbirdsong music as mans artificial bid to restore lost innocence
(See #128 for #129s motival links)
[[#130]] The selfishness and egotism of the Nibelung siblings Alberich and Mime
Representing the egoism which is the foundation of all human motives
Alberich: youll never get hold of the lordly Ring, you lout! (#41 Frag)
Mime: (scratching his head: #41/#123 Vari Fragment >>) Well, keep it then and ward the bright
Ring well! You be its lord: (#107 Voc Vari?) but keep on calling me brother! (#105 Vari) Ill give
it to you in return for my Tarnhelms (#41/#123 Vari Frag) delightful toy: it befits us both that we
share the spoils in this way. (He rubs his hands confidingly.)
Alberich: (with mocking laughter: #7 [as heard in S.2.1 expressing Alberichs rage at Wotans
appearance at Neidhoelle?]) I? Share with you? And the Tarnhelm, too? How sly you are! Id never
sleep safe from you snares!
Mime: (beside himself: [[ #130>> ]] Not even exchange it? And not share either? (#130 >>)Im to
go empty-handed, quite unrewarded? (screeching) will you leave me nothing?
Alberich: (#45) Nothing at all, not even a nail shall you take from me!
Mime: (in utmost fury: [[ #130>> ]] Neither Ring nor Tarnhelm shall profit you aught. Ill share
no more, but Siegfried and his warriors sword Ill call on to help me against you: the swift-footed
hero will sort you out, dear brother!
[[#131]] Mimes False Friendship

After killing Fafner, Siegfried, by virtue of sucking Fafners burning blood off his fingers, is
suddenly able to grasp the meaning of the Woodbirds song, who tells him that Mime, though
seeming to proffer friendship, will betray his true, treacherous intent in his speech. Siegfried can
discern ulterior, egoistic intent behind Mimes faade of selflessness and friendship, thanks to
Siegfrieds unique entre to the unconscious programme which inspires musical creation. As the
heir to Alberichs and Wotans hoard of knowledge (the first thing the Woodbird mentioned to
Siegfried), Siegfried has access to Wotans repressed thought, which Wotan found so loathsome
that he couldnt bear to speak them aloud (i.e., to be conscious of them). Mime embodies those
loathsome thoughts.
(#131s motival links, if any, not yet ascertained: however, I speculate that some of the melody
and rhythm of #131 and associated music during this scene influences the dramatically similar
scene in T.1.2 when the Gibichungs Hagen, Gunther, and Gutrune give a falsely friendly welcome
to Siegfried, and Gutrune, unlike Mime, successfully persuades Siegfried to drink a potion Hagen
has prepared, whose purpose is to exploit Siegfried to do what the Gibichungs Gunther and
Gutrune cannot do for themselves, and whose consequence will be Siegfrieds death.)
(#11: Silence. Once again Siegfried becomes involuntarily aware of the bird.)
Voice of the Woodbird: (#129ab/#11) Hey! Siegfried now owns the helm and the Ring! Oh let him
not trust the treacherous Mime! Were Siegfried to listen to the rogues hypocritical words, (#128b
or #98?) hed be able to understand what Mime means in his heart; thus the taste of the blood was
o(Siegfrieds expression and gestures show that he has understood the meaning of the Woodbirds
song. () Mime creeps back and watches Siegfried from the front of the stage.)
Mime: (#66>>) He ponders and broods on the bootys worth: has some wily Wanderer been
loitering here, roaming around and beguiling the child with his counsel of cunning runes? Doubly
sly the dwarf must be: Ill set the most cunning snare now and fool the defiant child with Falsely
friendly words.
Mime: (#129ab: He comes closer to Siegfried and welcomes him with wheedling
gestures. [[ #131 ]] Welcome, Siegfried! Tell me, brave boy, have you learned the meaning of
fear?
Siegfried: (#122) Ive not yet found a teacher.
Mime: [[ #131 ]]; #66 or #106?) But youve slain the (#129ab) snake-like dragon: he must have
been a poor companion?
Siegfried: (#20a or #101?) Grim and spiteful though he was, his death yet grieves me deeply since
far worse villains still remain unslain! (#123 Vari; #20a or #101 chords on horns?) The man who
bade me murder him I hate much more than the dragon.
Mime: (very amiably: [[ #131 >> ]]; #66 or #106?) But soft! Youll not have to see me much
longer: (mawkishly: #26a &/or #101?) Ill soon lock your eyes in lasting sleep! Youve done (as
if praising him) what I needed you for; all that I still want to do is to win from you the booty:
- [[ #131>> ]]; #66 or #106?) I think that I ought to succeed in that; youre easy enough to fool
after all!
Siegfried: So youre planning to do me harm?
Mime: (surprised: #129ab/[[ #131>> ]]) What, did I say that?

[[#132ab]] Siegfrieds loneliness and urgent need for a boon companion, Bruennhilde
[[#133]] Wotans wooing of Erda to gain both objective knowledge of what he fears, and
aesthetic intuition (represented by their daughter Bruennhilde), his means to forget the fear Erda
taught
f use to him.
Wotan learned two things from Erda: (1) the cause for his existential fear, that the gods (mans
religious beliefs) are predestined to destruction by mans advancement in knowledge; and (2), that
though religious faith as a concept, as a claim on the power of the truth (Alberichs Ring) is
foredoomed, mans religious longing for transcendent value will live on in the loving union of the
artist-hero Siegfried and his muse of inspiration, Bruennhilde, i.e., in the Wagnerian music-drama
to which they will give birth.
(#133 is in the family of love motifs stemming from an Embryo in Alberichs vocal line:
(#25& #39 Embryo) Has the third one, so true, betrayed me as well?, which
includes #25, #39, #40, #64b, #80b, #140, and perhaps #145)
Prelude: (#53/#91 [#91 can be heard beneath the other motifs throughout the
Prelude] #83, #21 Modulating; #2; #54/#112 Modulating; #2/#1 Modulating; #45; #2 Chromatic
Inversion; #97; #87; #21; #87; #21 Modulating: The Wanderer [Wotan] now enters. He strides
resolutely to the mouth of a vault-like cavern in a rock at the front of the stage and takes up his
position there, leaning on his spear, while calling into the mouth of a cave.)
Wanderer: Waken, Vala! [[ #133 ]] Vala, Awake! From lengthy sleep I awake you, slumberer! I
call upon you! [[ #133 ]] Arise! Arise! From mist-clad [Nebliger] vault, from night-veiled
depths arise! (#53>>) Erda! Erda! Eternal woman! (#2>>) From native depths rise up to the
heights! (#2; #54) All knowing! Primevally wise! Erda! Erda! [[ #133 ]] Eternal
woman! [[ #133 ]] Waken, awaken! You vala, (#21) awaken!
(#21; #87?: The vaulted cave begins to glow with a bluish light, in which Erda is seen rising very
slowly from the depths. She appears to be covered in hoar-frost; hair and garments giving off a
glittering sheen.)
Erda: (#97) Strong is the call of your lay, (#97) mighty the lure of its magic spell! From knowing
sleep am I roused: (#87) who is it who drives my slumber away? (#87)
Wanderer: (#53) Your awakener am I, (#54/#2) and strains I sing (#54/#2) that all may wake whom
heavy sleep enfolds. (#112) I roamed the world and wandered far (#2) to garner knowledge and
(#92c or #71 Vari Hero?) gain primeval lore. (#38 vari >>; #19 Vari?) None is there wiser than
you: (#38 Vari >>) to you is revealed what the depths conceal, what fills every hill and dale and
moves through the air and water. Where men have life your spirit moves; (#140 Vari [a high string
fanfare possibly heard in S.3.3 as Bruennhilde joyously commits to having sexual union with
Siegfried and forgetting her fears?]) where brains are brooding your mind remains; all, it is said,
is made known to you. [[ #133 ]] That I may now gain knowledge, [[ #133 ]] I wake you from your
sleep. (#21 vari)
Erda: (#97; #15 Vari? [possibly foreshadowing Wotans confrontation with Siegfried in S.3.2?])
My sleep is dreaming, my dreaming brooding, (#59a) my brooding the exercise of knowledge.
(#2) But when I sleep, then Norns keep watch: (#19?) they weave the rope [of fate and natural law]
and bravely spin whatever I know; why dont you ask the Norns?
Wanderer: (#53; #19) In thrall to the world those wise women weave; (#37) naught can they make
or mend; (#19) but Id thank the store of your wisdom [[ #133 ]] to be told how to hold back a
rolling wheel.
Erda: (#19 Varis) Deeds of men becloud my mind: (#19) wise though I am, (#37) a ruler (#19)
once tamed me. (#20a) A wish-maid I bore to Wotan: (#20b>>) for him he bade her choose slain
heroes. (#77) (#98) She is brave and wise withal: (#87) why waken me (#98) and not (#87) seek
knowledge (#? [possibly a musical reference to the moment Wotan heralded his grand idea near
the finale of R.4, when #57 and #58 were introduced?] from Erdas and Wotans child? (#20a)
Wanderer: (#96?; #20b) Do you mean the Valkyrie, Bruennhilde, the maid? (#50; #96; #21?) She
defied the master of storms when, with utmost effort, he mastered himself: (#77?; #83?) what the
Lord of Battle longed to do but what he forbade (#83?) in spite of himself (#96?) his dissident
daughter, all too conversantly [allzu vertraut wagte die trotzige] dared, in the heat of that battle
(#77) to do for herself. War-father punished the maid; (#94; #? [some specific motif(s) seems to
be in play here]) He closed her eyes in sleep; on yonder fell shes sleeping soundly: (#21; #19) the
hallowed maid will awaken only (#37) to love a man as his wife. (#96?; #21 Fragment)
(#87 Fragment; #99?) What use would it be to question her? (#99)
[[#134]] Redemption of waning religious faith through unconsciously inspired Wagnerian

Music-Drama, the new religion
Commonly known as Worlds Inheritance Siegfried the poet-dramatist, and his muse of
unconscious artistic inspiration, his music, Bruennhilde, as Wotans (religious faiths) heirs, will
temporarily redeem man from Alberichs curse of consciousness, redeem man from the bitter truth,
by taking aesthetic possession of Wotans hoard of objective, fearful knowledge of Erdas terrible
world, and sublimating it into the Wagnerian music-drama, thus transforming mans existential
woe into bliss
(#47) Wotan: (to Erda: #133) You are not what you think you are! The wisdom of primeval
mothers draws towards its end: your knowledge wanes (#96b?) before my
will [i.e., before Bruennhilde: because Wotan confessed it to her, Bruennhilde holds Wotans
fearful knowledge (imparted to him by Erda) for Siegfried, so that Siegfried can remain
unconscious of it, and will therefore not be paralyzed by Wotans foreknowledge, his fear of the
end]. Do you know what Wotan wills?
(Long silence)
Wotan: (#53) O unwise woman, I call on you now (#54) to sleep forever, free from care!
(#133chord) Fear of the end of the gods no longer consumes me now that my wish [Wunsch] so
wills it. (#133) What I once resolved in despair (#21?; #51?) in the searing smart of inner turmoil,
(#133 vari; #92c or #71 vari Hero?) I now perform freely in gladness and joy: [[ #134 ]] though
once, in furious loathing [Ekel], I bequeathed the world to the Nibelungs spite [Neid], (#92)
to the (#133) lordliest (#133) Waelsung I leave my heritage now. (#20a/#57) He whom I chose but
who never knew me, the bravest of boys, though deprived of my counsel, has won for himself
(#57) the Nibelungs Ring: (#17 varis >>; #19 Vari [Triumphant Vari]) rejoicing in love, while
freed from greed [Neides], (#92) Alberichs curse (#40 or #64b or #133?) is powerless over the
noble youth (#? [possible ref to Bruennhildes remark to Wotan just prior to Wotans confession
in V.2.2: To Wotans will you speak when you tell me what you will: who am I if not your
will??] for fear remains unknown to him. (#40b>>) Bruennhilde, whom you bore to me, (#64ab)
the hero will lovingly waken: [[ #134]]; #? [What is in the bass?]) waking, your all-wise
child, ([[ #134 ]]; #? [#92c, or #71 vari Hero?: is it Bruennhildes final vocal line as she plunges
with Grane into Siegfrieds funeral pyre in the finale of T.3.3, singing: In bliss your wife bids you
welcome!?]) will work the deed that redeems the world. (#87?: somewhat broadly) And so, sleep
on, (#97) close your eyes and, (#19?) dreaming, behold my end! Whatever they do [[ #134 ]] to
one whos eternally young the god now yields in gladness. (#133) Descend then, Erda! (#133/#87)
Primeval mothers fear! Primeval care! (#133; #87?) Descend! Descend! (#97) To ageless sleep!
[[#135]] Wotans interrogation of Siegfried to insure Siegfried does not know who Siegfried is,
Wotan's unwitting instrument of redemption
Wotan tests Siegfried to insure Siegfried cant trace his origins back to Wotan, and is therefore the
free hero Wotan has longed for. Wotans crucial question: how did Siegfried learn the meaning of
Woodbirdsong, i.e., is Siegfried an authentically unconsciously inspired artist-hero, with access to
mans collective unconscious, Bruennhilde
(#135s motival links, if any, not yet ascertained; however, I suspect a harmonic link with the
Valhalla Motif #20a)
"Wanderer: (remaining where he is: #129b frag and varis) Whither, my lad, does your
journey lead you?
Siegfried: (stopping and turning around: #129b vari>>) Theres someone speaking: (#128b
or #98?) perhaps he can tell me the way. (He approaches the Wanderer: #10 or #41 as Woodbird
call?) (#15) Im seeking a rock (#128b) thats circled by fire: there sleeps a woman (#129b) I mean
to wake.
Wanderer: Who bade you to seek out the rock, who bade you desire the woman?
Siegfried: (#129b) A forest songbird directed me: it gave me good advice.
Wanderer: (#128ab?; [[ #135 Strings >> ]]; #? [#115 or #152 Rhythm?]) A woodbird chatters of
many things; no human can understand it: (#66 or #99 or #106?) how could you make any sense
of its singing?
Siegfried: (#126) It was due to the blood of a fearsome dragon that fell before me at Envy-Cave
[Neidhoehle]: (#98?) Its kindling blood had scarce wet my tongue when I understood what the
birds were saying.
Wanderer: [[ #135 >>; #115 or #152 Hint?) If you slew the Giant, who urged you to defeat the
mighty beast? Siegfried: (#123 Vari) I was led by Mime, a false-hearted dwarf; he wanted to teach
me fear: (#109) but the dragon itself provoked the blow (#126 Vari) that proved to be his undoing;
he snapped his jaws at me.
Wanderer: ([[ #135 ]]; #? [possible hint of #83 with #20a harmony?]) Who made the sword so
sharp and hard that this fiercest enemy fell before him?
Siegfried: (#103 Vari or Fragment? [the Vari associated with his forging]) I forged it myself since
the smith was unable: #128b?; #41) Id otherwise still be swordless.
Wanderer: ([[ #135 Horns ]]; #? [possible hint of #83 with #20a harmony?]; #Voc? [possible hint
of Rhinedaughters music, such as #4?]) But who made the mighty fragments from which you
forged the sword?
Siegfried: (#103 Forging Fragment?; #124 Varis) What do I know of that? I know only that the
bits were no use (#58b?) unless I re-made the sword.
Wanderer: ([[ #135 ]] Breaking into cheerfully good-natured laughter) That I can well believe! (He
observes Siegfried, well pleased: #66)
Siegfried: (Surprised: #66; #106 [or other music expressing Siegfrieds loneliness after killing
Mime in S.2.3?]; #Voc? [back reference to vocal line of Siegfrieds
remark about the Woodbird: My Woodbirds flown away; with fluttering flight and sweet-
sounding song it showed me the way?]) Are you laughing at me? No more of your questions, old
man; dont keep me here talking any longer. (#66 [Very Emphatic !!!!]) If you can show me the
way, then tell me: if youre unable, (#66) then hold your tongue! (#66 [Very Emphatic !!!!])
Wanderer: ([[ #135 ]] [sounding like #83 with #20as harmony?]) Patience, my lad! If you think
that Im old, you should show me respect.
[[#136]] Wotan bars Siegfrieds access to the sleeping Bruennhilde to insure Siegfried is truly
the free, fearless hero needed by the gods for their redemption
(#136s motival links, if any, not yet ascertained; but it can be considered one of the Motions of
Nature)
(#21) Wanderer: The way it [the Woodbird] showed you shall not go!
Siegfried: (stepping back in surprise by adopting a defiant attitude: [[ #136>> ]] Hoho! You forbid
me? Who are you then who would bar my way?
Wanderer: [[ #136 varis ]] Fear the Guardian of the fell! Locked within my power the sleeping
maid is held: (#23 vari?) he who awakens her, he who wins her would make me powerless for
aye! [[ #136 ]]/#34>>) A sea of fire floods round the woman, a white-hot blaze licks round the
rock: (#34?) he who longs for the bride will find the fire raging towards him.
[[#137ab]] Siegfried learns fear from the sleeping Bruennhilde, his premonition that it is
dangerous to wake the repository of Wotans unspoken secret, which Wotan couldnt bear to
speak aloud
(#137 derives ultimately from #21, via its transformations into #28, #32b, #60, #62, #81AB, part
of #83, and #96ab. It is the basis for #164.)
[#137a is introduced after Siegfried, having found Bruennhilde lying in her armour asleep, and
incorrectly assuming that she is a man, has cut away her armour so she can breath easier. He is
suddenly overcome with inexplicable fear:]
Siegfried: Come, my sword, and cut through the iron!
(#57; vari: Siegfried draws his sword and, with tender care, cuts through the rings of mail on both
sides of the armour. #132b: He then lifts away the breastplate and
greaves, so that Bruennhilde now lies before him in a womans soft garment. #66 followed by trill:
He starts up in shock and astonishment.)
Siegfried: No man is this! (#23 vari: He stares at the sleeping woman in a state of utter
turmoil. #66?; #137?; #132b>>) Burning enchantment charms my heart; fiery terror transfixes my
eyes: (#137b?) my senses stagger and swoon! (#66 Vari: He is filled with immense apprehension.)
To save me, whom shall I call on to help me? (#66>>) Mother! Mother! Remember me!
(He sinks, as if fainting, on Bruennhildes breast. He starts up with a sigh.)
Siegfried: How shall I waken the maid so that she opens her eyes for me? (#132b) Opens her eyes
for me! (#132b) what though the sight might yet blind me! Might my bravery dare it? (#132b vari)
Could I bear their light? [[ #137a ]] Around me everything floats and sways and
swims; [[ #137a>> ]] searing desire consumes my senses: on my quaking heart my hand is
trembling! (#98) What is this, coward, that I feel? [[ #137a>> ]] Is this what it is to fear? O mother!
Mother! Your mettlesome child! A woman lies asleep: (#98; #87?) she has taught him the meaning
of fear! (#139?) How can I overcome my fear? How can I summon up courage? That I myself may
awaken, I must waken the maid!
[Bruennhilde later experiences her own overwhelming fear of the consequences of having sexual
union with Siegfried, and has warned Siegfried that if he is going to love her he must respect her
and not force himself upon her, i.e., that he not risk exposing the unspoken secret of Wotans
confession which she keeps. #137b is introduced as Siegfried embraces what formerly he had
feared, full loving union with Bruennhilde, and strives to persuade her to acquiesce:]
Bruennhilde: O Siegfried! Light-bringing youth! (#87) Love but yourself and let me be: (#98) do
not destroy what is yours!
Siegfried: (#137 Vari [sounding like #164?]; #132 Varis) It is you that I love: if only you loved
me! No longer do I have myself: would that I might have you! [[ #137b>> ]] A glorious floodtide
billows before me; with all my senses I see only it the wondrously billowing wave: (#144) though
it shatter my likeness, Im burning myself now to cool raging passion within the flood; I shall leap,
as I am, straight into the stream: o that its (#98/#142 vari) billows engulf me in bliss and my
longing be stilled in the flood! (#134)
[[#138]] Kissed by Siegfried, Bruennhilde opens her eyes: the artist-hero Siegfried can now
access mankind's (Wotan's) collective unconscious to obtain inspiration
(#138 based on the #53 chord; thus #138 is related to #1, #2, and #57b, and also to the family of
motifs stemming from the last three notes of #53, which include #71, #77, #88, #92, #95, and
perhaps #152.)
Siegfried: Sweetly quivers her burgeoning mouth: (#23 vari; #137a?) gently trembling it lures me
on, faint-hearted that I am! Ah, the blissfully warming fragrance of that breath! (as though in
despair) Awake! Awake! Thrice-hallowed woman! (#87: He gazes at her.) She cannot hear me!
(#87) (slowly, with urgent and insistent expression: #139?) So I suck life from the sweetest of lips
(#37) though I should perish and die!
(#87: He sinks, as though dying, on the sleeping woman and, with his eyes closed, presses his lips
on her mouth. [[ #138: ]] Bruennhilde opens her eyes. Siegfried starts up and remains standing in
front of her. [[ #139: ]] Bruennhilde slowly sits up. She raises her arms and, with solemn gestures,
welcomes her return to an awareness of earth and sky. #140?)
[[#153]] Seduction The music-dramatist Siegfried seduced by the prospect of a public

performance of his music-drama to betray its unspoken secret, the mystery of religious faith and
unconscious artistic inspiration, to his audience
(#153 is in the same family as #24 and #139, motifs sometimes thought of as a family representing
sensuous love: this is not always accurate!)
"Gutrune: (#152 Vari) What was the feat that he [Siegfried] performed so bravely that he is called
the most glorious hero?
Hagen: (#48 Vari) Outside Envy-Cave [Neidhoehle] the Nibelung Hoard (#19) was guarded by
a giant dragon; (#126 Vari) Siegfried closed its fearsome maw, slew the beast with conquering
sword. (#92?) From such a tremendous feat (#109) the heros fame has sprung.
Gunther: (Pensively: #17 Vari) Ive heard of the Nibelung Hoard: does it not hide [birgt] the
most coveted [Neidlichsten] treasure? (#19 Vari)
Hagen: (#19 Vari) He who knew how to use it (#37) could bend the world, in truth, to his will.
(#12)
Gunther: (#12) And Siegfried won it in fair fight?
Hagen: (#45) The Nibelungs are now his slaves. (#45b; #57 Vari)
Gunther: And he alone could win Bruennhilde?
Hagen: (#77) Only to him would the fire yield. (#? [possibly a musical figure from Wotans
confrontation with Siegfried in S.3.2, perhaps relating to Siegfrieds description of killing the
Serpent Fafner?])
Gunther: (#152 Vari: Rising angrily from his seat.) Why waken doubt and dissent? Why make me
long for what I cant gain by force?
(#152 vari>>: He paces up and down the hall in agitation. Without leaving his seat, Hagen stops
him with a mysterious gesture as he approaches him again: #42; [[ #154 Fragment ]])
Hagen: (#151; #152 vari) If Siegfried brought the bride back home, (#59 voc?) wouldnt
Bruennhilde then be yours?
Gunther: (#152; #20d hint?: Turning away again in doubt and anger) (#152 vari>>) what would
force the carefree man to woo the bride for me?
Bruennhilde: [[ #138 ]] Hail to you, sun! [[ #138 ]] Hail to you, light! Hail to you, [[ #139 ]]light-
bringing day! (#87) Long was my sleep; (#87) awakened am I! (#92?) Who is the hero who woke
me?
(Profoundly moved by her appearance and voice, Siegfried stands as though rooted to the spot.)
Siegfried: (#92>>) I pressed through the fire that burned round the fell; (#92) I broke open your
tight-fitting helmet: Siegfried am I who woke you!
Bruennhilde: (sitting upright: [[ #138 ]] Hail to you, gods! [[ #138 ]] Hail to you, world! Hail to
you, [[ #139 ]] splendent earth [Erde]! (#17 or #19 Triumphant?) My sleep is at an end now;
awakened, I see (#103?) it is Siegfried who woke me!
Siegfried: (Breaking out in the most sublime ecstasy: ([[ #140 ]] [during the following duet
Siegfrieds and Bruennhildes vocal lines alternate]) All hail to the mother who gave me birth; hail
to the earth [erde] that gave me nurture: that I saw the eye that smiles on me now in my bliss!
Bruennhilde: [[ #140 ]] All Hail to the mother who gave you birth; hail to the earth that gave you
nurture; your gaze alone was fated to see me, [[ #139 ]] to you alone was I fated to wake!
(#66 Fragment; [[ #141 ]]/#92: Both remain lost in radiant delight as they gaze at one another.)
[[#139]] Siegfrieds kiss wakes his muse Bruennhilde, who will inspire his art by imparting
Wotan's unspoken secret to him subliminally, through music
(#139 is based on #24; possibly related to #153; #139 may be a (or the) basis for (#@: E), the
#Motif of Remembrance)
[See #138 for #139s dramatic context.]
[[#140]] Siegfrieds and Bruennhildes loving salute to each other

(#140 is in the family of love motifs which includes #25, #39, #40, #64b, #80b, #133, and
possibly #145)
[See #138 for #140s initial dramatic context; see below for #140s more detailed dramatic
context:]
"Bruennhilde: O Siegfried! Siegfried! Thrice-blessed hero! [[ #141 ]] You waker of life! All-
conquering light! [[ #141b ]]; #40) If only you know, you joy of the world, (#140) how I have
always loved you! (#140) (#140>>) You yourself were all I ever thought of, all I ever cared
for! (#140>>?) I nurtured you, you tender child, before you were begotten; even before you were
born, my shield already sheltered you: (#134) so long have I loved you, Siegfried! (#139; #19 Vari)
Siegfried: (softly and shyly: #66) So my mother did not die? Was the lovely woman merely asleep?
Bruennhilde: (Bruennhilde smiles and stretches out her hand to him in friendly
fashion: #141b>>; #30b or #97 voc?) You blithesome child, your mother wont come back to
you. (#141>>) Your own self I am if you (#30b or #97?) but love me in my bliss. (#87) What you
dont know (#57b or #79?) I know for you: (#134) and yet I am knowing only because I love
you! [[ #140 Vari ]] O Siegfried! Siegfried! Conquering light! [[ #141 >> ]] I loved you always:
to me alone was Wotans thought revealed. (#88?) (#96?) The thought which I could never name;
(#19?; #83 End Fragment [based on #54]; #96? [perhaps back reference to Bruennhildes remark
to Wotan in V.3.3 that she knows he loves Siegmund, though Wotan is compelled to deny it, or to
her remark that Wotan had taught her to love what he loves]) the thought I did not think but only
felt; the thought for which I fought, (#96 Vari >>) did battle and have striven, (#140?) for which I
flouted him who thought it. (#94 Vari; #58b or #79Hint?) for which I atoned, incurring
chastisement, (#96b >>) because, not thinking, I only felt it! Because that thought (#134) could
you guess it! was but my love for you. [[ #140 Vari
[[#141ab]] What Siegfried doesnt know (his true identity and fate), his unconscious mind
Bruennhilde knows for him
[See #138 for #141s initial dramatic context; see #140 for #141s more detailed dramatic
context:]
[[#142]] Bruennhilde calls upon the artist-hero Siegfried to preserve and respect her status as his
muse of unconscious artistic inspiration
(#142s motival links, if any, not yet ascertained; #142 is one of the primary themes Wagner
incorporated into his Siegfried Idyll.)
Bruennhilde has unexpectedly grown fearful of consummating her loving union with Siegfried,
because, as the repository of Wotans unspoken secret, his repressed Hoard of unbearable
knowledge, she has a premonition that if she shares this secret with Siegfried in loving union, he
might betray it to the light of day:
Bruennhilde: (Staring ahead of her: #134 [fades away]; #82) Grieving darkness clouds my gaze;
(#51 Vari) My eye grows dim, its light dies out: (#82) Night enfolds me; (#51 Vari) from mist
[Nebel] and dread [Graun] a confusion of fear now writhes in its rage! (#79/#84 >>) Terror
stalks and rears its head!
(#25 or #40 Vari?: [possibly reference to swift variant of #25 heard when Freia ran from the Giants
in R.2?] Bruennhilde impulsively covers her eyes with her hands.)
Siegfried: (gently removing her hands from her eyes. Night encloses (#134 Vari Clarinet?) eyes
that are bound; (#134 Vari) with your fetters your gloomy dread will fade: (#134 Oboe; #Voc?
[perhaps referencing music heard during Wotans confession to Bruennhilde in V.2.2 when he told
her of his need for a hero freed from the gods law or protection who by fighting them could
redeem them, when #83 was introduced?]) rise from the darkness and see bright as the sun shines
the day!
Bruennhilde: (in the utmost dismay) Bright as the sun shines the day of my shame. (#96>>) O
Siegfried! Siegfried! Behold my fear! (#79 and/or #80 on clarinet?)
([[ #142 ]] Bruennhildes mien reveals that a delightful image has passed before her minds eye,
at the thought of which she tenderly directs her gaze back to Siegfried)
Bruennhilde: [[ #142 ]]/#98:) Ever was I, ever am I, ever beset by sweet-yearning bliss but ever
working for your own weal. (ardently, but tenderly: [[ #143 ]] O Siegfried! Glorious hero! Hoard
[Hort] of the world! Life of the earth! Laughing hero! (#? [Possibly a basis for the Motif of
Remembrance associated in T.3.2 with Hagens effort to get Siegfried to tell how he once learned
the meaning of birdsong?]) Leave, oh leave me! Leave me be! (#142 or #143>>?)Do not draw
near with your raging nearness! Do not constrain me with chafing constraint! Do not destroy a
woman whos dear to you! Did you see your face in the limpid brook? (#137varis>>) Did it rejoice
you, blithe hero? If you stirred the water into a wave, (#137>#164?) if the brooks clear surface
dissolved, (#98 or #121?) youd see your own likeness no longer but only the billows eddying
surge. [[ #143 Fragment ]] And so do not touch me, trouble me not: [[ #142/#143 ]]/#98>>) ever
bright in your bliss you will smile a smile that passes from me to you, a hero blithe and happy!
Oh Siegfried! Light-bringing youth! (#87) Love but yourself, and let me be! (#98) Do not destroy
what is yours!
[[#143]] Bruennhilde calls upon Siegfried as the Hoard of the World (i.e., the heir to
Alberich's and Wotan's - Light-Alberich's - hoard of knowledge) to preserve its secret and not
expose it to the light of day
(Cooke regarded #143 as a basis for #150, but Dunning disagrees. However,
both #143 and #150 are directly associated with the crucial concept that Bruennhilde is imparting
Wotans Hoard of Knowledge i.e., his confession to Siegfried, subliminally, so a musical
kinship of these two motifs would not be surprising)
[[#144]] Siegfried, aflame with Loges fire of artistic creation, longs to plunge into his surrogate
Rhine, the floodtide of Bruennhildes music
(#144 is kin to the family of motifs Cooke called Motions of Nature, including #11 and #38)
Siegfried: (#132 Varis; #66?; #137 [sounding like #164]; #121 Vari?) It is you that I love: if only
you loved me. I no longer have myself: would that I might have you! (#137b) A glorious floodtide
billows before me; with all my senses I see only it the wondrously billowing
wave: [[ #144 ]] though it shatter my likeness, Im burning myself now to cool raging passion
within the flood; I shall leap, as I am, straight into the stream: o that its billows (#98/#142 vari)
engulf me in bliss and my longing be stilled in the flood! (#134; #140 Fragment) Awaken,
Bruennhilde! Waken, you maid! (#141
) Laugh and live, sweetest delight! Be mine! Be mine! Be mine!

Bruennhilde: (very inwardly: #140 Vari) O Siegfried! Yours was I aye [ever]!
Siegfried: (ardently: #Accompaniment from Siegfried Idyll) If you were once, then be so now!
Bruennhilde: (#140?) Yours shall I be for ever!
Siegfried: (#Accompaniment from Siegfried Idyll) What you will be, be today! (#141 Varis) As
my arm enfolds you, I hold you fast; as my heart beats wildly against your own, as our glances
ignite and breath feeds on breath, eye to eye and (#140 Vari) mouth to mouth, (#134) then, to me,
you must be what, fearful, you were and will be! (#140 Fragments) Then gone were the burning
doubt that Bruennhilde might not now be mine.
[[#145ab]] Having learned the meaning of Wotans fear and forgotten it through loving union
with his muse Bruennhilde, Siegfried's unconscious inspiration has temporarily redeemed him
and Wagner's audience from Alberich's curse of consciousness
(Dunning believes #145 is in the Love Motif Family which
includes #25, #39, #40ab, #64b, #80b, #133, and #140. However, I speculate that #145a may in
fact be a variant form of the Motif of Siegfrieds Contempt for Mime, #104. If this is accurate, it
would presumably illustrate the concept (which remains valid with or without motival support in
this instance) that thanks to Bruennhildes loving protection Siegfried has now entirely suppressed
all those aspects of his own character as the reincarnation of Wotan which Wotan loathed in
himself, and which are incarnate in Mime)
Siegfried: (in joyful terror: #92>>> - [almost as if #77 and #92 are in union?]) Ha! As the blood
in our veins ignites, as our flashing glances consume one another, (#74b hint) our arms clasp each
other in ardour (#92) my courage returns (#74b hint?) and the fear, ah! the fear that I never learned
- (#32b or #97 or #112?) the fear that you scarcely taught me: that fear (#129b) I think, fool that
I am, (#128b?) I have quite for-gotten it now!
(At these last words he has involuntarily released Bruennhilde.)
Bruennhilde: (laughing wildly and joyfully: #77/#78>>) O childish hero! O glorious boy! You
foolish Hoard of loftiest deeds! (#141>>) Laughing I must love you; laughing I must grow blind!
Laughing let us perish, laughing go to our doom! [[ #145 ]] Be gone, Valhallas light-bringing
world! May your proud-standing stronghold moulder to dust! [[ #145 ]]; #140) Fare well,
resplendent [[ #145 ]] pomp of the gods! (#140) End in rapture, you endless race! [[ #145]]; #140)
Rend, O Norns, the rope of runes! Dusk of the gods, let your darkness arise! Night of
destruction, let your mists role in! (#134) Siegfrieds star now shines upon me; [[ #145 ]]hes
mine forever, always mine, my heritage and own, my one and all: (#141/#134>>) light-bringing
love and laughing death!
Siegfried: [[ #145 ]] Laughing you wake in gladness to me: Bruennhilde lives! Bruennhilde
laughs! [[ #145 ]]; #140) Hail to the day that sheds light all around us! Hail to the sun that shines
upon us! Hail to the light that emerges from night! Hail to the world for which Bruennhilde lives!
She wakes! She lives! She smiles upon me! (#134) Bruennhildes star shines resplendent upon
me! [[ #145 ]] Shes mine forever, always mine, my heritage and own, my one and all:
(#141/#134>>) light-bringing love and laughing death! (#141?; #92?; #134: Bruennhilde throws
herself into Siegfrieds arms.)
Twilight of the Gods
(#@: C or D?)The Norns spin their rope of fate, Erdas knowledge of all that was, is, and will be,
and that all things that are, end ((#@: C or D?) is based on the diminished inversion of #3, the
Rhine Motion Motif, and is often heard as a compound motif comprising #3 diminished inversion,
and #19 (Alberichs Ring)
[See #146 below for (#@: C or D?)s dramatic context]
[[#146]] World-Ash Tree (The Tree of Life and Knowledge)

Wagners idiosyncratic variation on the Biblical Trees of Life and of Knowledge. Wotans primal
act, the breaking off of the World-Ash Trees most sacred branch, to make his spear of divine
authority engraved with the social contract, withers and kills the World-Ash. This is a concrete
illustration of religious mans sin of world-renunciation, Wotans sin against all that was, is, and
shall be.
(#146 is generally regarded as a rhythmic variant of #53, but it may contain #20 harmony; if it is
a variant of #53 then this links it with #1, #2, and #57b, and also with the family of heroic motifs
stemming from the last three notes of #53, namely, #71, #77, #88, #92, #95, and perhaps #152.)
First Norn: [[ (#@: C of D?) #3 Inversion = Norns Spinning Motif: ]] For good or ill, I wind the
rope and Sing. (#2; [[ #146 ]] At the World-Ash once I wove (#3 Inversion) when, tall and
strong, a forest of sacred branches (#2) blossomed from its bole; (#2; #20d; #3 vari) in its cooling
shade there plashed a spring, whispering wisdom, its ripples ran: I sang then of sacred (#2) things!
(#20d) A dauntless god came to drink at the spring; (#20abc vari; #20d) one of his eyes he paid as
toll for all time: from the World-Ash Wotan broke off a branch; (#21; #146?) the shaft of a spear
(#21 sounding like #115?) the mighty god cut from its trunk. (#97 vari) In the span of many
seasons the wound consumed the wood; (#53; #54) fallow fell the leaves; (#3Inversion) barren,
the tree grew rotten: (#53) sadly the well-springs drink ran dry; the sense of my singing grew
troubled. [[ #146 ]] (#3 Inversion) But if I no longer weave by the World-Ash today, the fir must
serve (#147?) to fasten the rope: (#15 Vari = [[ #147 ]] sing, my sister, - I cast it to you (#88) do
you know what will become of it?
[[#147]] The Norns sing the song of Fate
While the Norns spin Mother Natures (their mother Erdas) self-knowledge, all that was, is, and
will be, including Alberichs curse on his Ring, they sing their song of Fate, the history of the
world that was, is, and is yet to be. Their objective knowledge of the world they spin is Fate, natural
necessity, because as Wotan himself admitted to Alberich in S.2.1 and to Erda in S.3.1 the
knowledge they spin cant be altered.
(#147s motival links, if any, not yet ascertained; the actual motif representing the Norns Spinning
is a #3 Vari, a diminished inversion of #3, which is sometimes combined with the Ring Motif #19;
is #147 a variant of #15?)
[[#148]] Siegfrieds mature horn call

Representing Siegfrieds fully attained status as an unconsciously inspired artist, successful wooer
of the muse of art, Bruennhilde (#148 is a harmonically enriched variant of #103, which
places #148 in the family of diatonic nature arpeggios which includes #1, #12, and #56.)
Prelude: (Dawn. The sky begins to brighten and the fiery glow at the back of the stage grows
increasingly faint: #87?; [[ #148 Fragments on Bass Clarinet
]]; #139?; #140?; [[ #148 ]]; #139?; [[ #148 ]]; [[ #149 on Clarinet
]]; [[ #148 ]]; [[ #149 ]]; #148?; #77; [[ #148 ]]: Sunrise. Broad daylight. Siegfried and
Bruennhilde emerge from the rocky chamber. He is fully armed; she leads her horse by the bridle.)
Bruennhilde: ([[ #148 ]]; [[ #149>> ]]) To new adventures, dear hero, [[ #149 ]] what would by
love be worth if I did not let you go forth? A single worry makes me falter, that my
merit [[ #150 ]] has brought you too little gain! [[ #150 ]] [[ #150>>]] What gods have taught
me, I gave to you: a bountiful Hoard [Spencer wrote store here for Hort] of hallowed runes;
(#? [possibly a reference to music which expressed Bruennhildes fear of sexual union with
Siegfried from S.3.3?]) but the maidenly source of all [[ #150 ]] my strength (#140) was taken
away by the hero to whom I now bow my head. [[ #149 ]] Bereft of wisdom [[ #149 ]] but filled
with desire; [[ #149 ]] rich in love but void of strength, I beg you not to despise the poor woman
who grudges you naught [[ #150 ]] but can give you no more. [[ #148 ]]
Siegfried: You gave me more, o wondrous woman, [[ #150 ]] than I know how to cherish
[wahren: it can also mean keep or guard]: [[ #150 ]] [[ #149 ]] chide me not if
your [[ #150 ]] teaching left me untaught!
[[#149]] The muse Bruennhilde inspires Siegfried to undertake new adventures, i.e., to go our
into the world to create Wagnerian music-dramas and present them to the public
(#149 is in the same family of motifs as #8, #23, and #93, which Cooke calls, only partially
accurately, Womans Inspiration)
[[#150]] Siegfried as unwitting and therefore poor - guardian of Wotans repressed hoard of
runes, the involuntary keeper of Wotan's unspoken secret, which Wotan confessed to
Bruennhilde
(Cooke suggests that #150 is related to #143, i.e. the Hoard of the World Motif, but Dunning
disagrees. However, both #143 and #150 are associated with the concept of Wotans Hoard of
knowledge.)
[See #148 above for dramatic context.]
[[#151]] Hagen Representative of our modern, secular, scientific age of skepticism and
cynicis
Hagen is the instrument of Alberichs curse on his Ring, the agent of Alberichs intent to punish
the adherents of the mytho-poetic (religious) phase of human history, who co-opted his Ring
power in order to sustain the illusion of mans transcendent value, and who therefore sinned
against the truth, all that was, is, and will be. Just as Alberich discredited religious faith (creating
Wotans self-doubt), so Hagens sole purpose is to discredit religions last refuge, the Wagnerian
music-drama, by exposing its true source of inspiration to the light of day, so that Hagen can
supplant mans metaphysical longings with the will to power, power only to be obtained through
loveless, objective knowledge.
(#151 is from the Family of Gibichung Motifs, which according to Cooke incorporate a
characteristic interval drop. This family includes #155, #156, #171, and perhaps distantly #165,
but curiously, not Gunthers Motif #152.)
Interlude: Siegfrieds Rhine Journey: (Siegfried leads the horse quickly to the rocky slope,
while Bruennhilde follows. (#150/#77/#148; #111 Vari [Strongly Emphasized]: During the
previous three bars Siegfried disappears with his horse down behind the rocky promontory, so
that the audience can no longer see him; Bruennhilde thus stands suddenly alone at the top of the
slope, gazing after Siegfried as he descends. #149 >>; #? [possibly #81s twist?]: Bruennhildes
gesture shows that Siegfried has now disappeared from sight. #149; #40 or #64?. Siegfrieds
horn is heard from below: #103: Bruennhilde listens. #103; #149: She steps further out on to the
slope. She now catches sight of Siegfried far below her: #103: she waves to him with a gesture of
delight. Her joyful smile indicates that she can see the hero as he merrily goes on his way. #40b
Vari; #110 Varis [are these actually #145 Varis?]; #103>>: At this point the curtain must be
quickly lowered. #103 Vari; #33b Vari; #33b or #35?; #103/#33b
plus #110/#111; #2/#3; #54; #37?; #2/#3; #59a/#103/#14; #13 Vari; #12; #59bc; #59 End
fragment; #17; #19; #37; #12 Vari; #12 Vari; #45ab; [[ #151 ]]; [[ #152 ]]; [[ #152 Bass
]]; [[ #152 ]]; [[ #152 Bass ]]
(The Hall of the Gibichungs on the Rhine. The hall is entirely open at the back. The back of the
stage itself is occupied by an open shore extending as far as the river [Rhine]; rocky outcrops
border the shore. Gunther and Gutrune sit enthroned to one side, with a table bearing drinking
vessels in front of them. Hagen [their half-brother, sharing the same mother Grimhilde: Gibich is
their father; Alberich is Hagens father] is seated in front of the table.)
Gunther: [[ #151 ]] Now hearken, Hagen! [[ #152 End Fragment]] Tell me, hero! [[ #152>> ]]do
I sit here in splendour by the Rhine, Gunther, worthy of Gibichs fame?
Hagen: [[ #151>> ]] You who are said to be true-born I deem to be worthy of envy: she who
bore us brothers both, (#19) the lady Grimhilde, gave me to know the reason why.
Gunther: [[ #152 Vari ]] I envy you, dont envy me! If I fell heir to the first-borns
ways, [[ #152 End Fragment ]] wisdom was yours alone: [[ #152 vari >> ]] half-brothers strife
was never better settled; I merely praise your sound advice [[ #151 ]] when I ask you about my
fame. [[ #152 ]]; #67 Bass?; [[ #161 End Fragment ]]
Hagen: [[ #151>> ]] Then I blame my advice, since your fame is still poor: (#24 Vari) for worthy
goods I know of that the Gibichungs not yet won.
Gunther: If you keep them hidden, I too shall chide!
Hagen: [[ #152 Vari ]] In summers ripe strength I see Gibichs line, [[ #152 ]] you, Gunther,
unwed, you, Gutrun, without a husband.
([[ #151 Vari]]; #24 vari: Gunther and Gutrune are lost in silent thought.)
Gunther: [[ #152 vari >> ]] Whom would you have me woo, that it should serve our fame?
(#77 frag)
Hagen: I know of a woman, (#77) the noblest in the world: - (#35 Vari) high on a fell her home;
(#35 Vari; #128b) a fire burns round her hall: (#35 Vari) only he who breaks through the fire
(#129b) may sue for Bruennhildes love.
Gunther: (#77) Is my courage equal to that?
Hagen: [[ #152 End Fragment ]] [sounding like #115?]; [[ #151 ]]) A man yet stronger is fated to
win her.
Gunther: Whos that most stalwart of men?
Hagen: (#4 Voc Fragment?) Siegfried, the Waelsungs offspring he is the strongest of heroes.
(#71 >>) A twin-born pair, impelled by love, Siegmund and Sieglinde bore the truest of sons:
(#109) He who waxed mightily in the wildwood (#150 Voc?) Him would I have as Gutrunes
husband.
[Moments later Gunther shows his true character by concurring with Hagens plan to drug
Siegfried with a potion so that he will forget any woman hes ever known before, fall in love with
the first woman he sees afterward (which theyve planned will be Gunthers sister Gutrune), and
serve Gunthers interests by abducting Bruennhilde for Gunther.]
[[#152]] Gunther and the Gibichungs as the music-dramatist Siegfrieds audience for his art
(Cooke describes #152 as one of the family of heroic motifs stemming from the last three notes of
Erdas Motif #53; if this is accurate, #152 would be related to #1, #2, and #57b, and would be
included among the family generated from #53 which also includes #71, #77, #88, #92, and #95.
However, conceptually it is hard to understand why Gunther, who is if anything the antithesis of a
true hero, would deserve a motif linking him with Siegfried (#92). Dunning agrees with me
that #152 sounds closely related to #115, generally known as the Power of the Gods, but which I
note is also associated in its definitive form with the fated destruction of the gods, in which all the
Gibichungs play a role. Conceptually, #152 is much more likely to be related to #115 on this basis.
I have also noted, however, that though Cooke traces #115ultimately back to #21 (Wotans Spear),
its stepwise ascending motion seems more akin to #1and #53, which brings us back to the family
of heroic motifs stemming from #53, but on a different conceptual basis.)
[See #151 above for dramatic context]
Hagen: (as before: #37?) Your entreaty would quickly force him if (#150?) Gutrune bound him
first.
Gutrune: [[ #153>> ]] You mock me, wicked Hagen! (#164 Hint?) How should I ever bind
Siegfried? If hes the worlds most glorious hero, (#152 vari) the loveliest women on earth
(#24 Vari Violin) would have wooed him long ago.
Hagen: [[ #153 ]] leaning closer towards Gutrune, confidentially) [[ #153 >> ]] Recall the potion
in the chest; (more secretively) trust in me who obtained it; (#37/#24 Vari; #? [possibly music
which expressed Siegfrieds loneliness in S.2.3, just before the Woodbird told him of
Bruennhilde?]) it will bind to you in love the hero for whom you long.
(#57 merges with #42?: Gunther has returned to the table and, leaning on it, listens attentively.)
Hagen: If Siegfried were to enter now (#57; #? [as if #57 merges with #42?]; [[ #153 Vari ]]) and
taste the herbal drink, (#42) hed be [[ #154 ]] forced to forget that hed (#24; #139?; #42) seen a
woman before you, (#24; [[ #154 ]] that a woman had ever come near him. (#151) Now tell me:
- [[ #161 End Fragment ]] what think you of Hagens advice?
Gunther: (Starting up, animatedly: #151) (#152 Vari) Praise be to Grimhild, who gave us our
brother!
[[#154]] Hagens Potion The Wagnerian Wonder (Wagners musical motif) betrays the
secret of the poet-dramatists (Wotans) unconscious aim to Siegfrieds audience, making them
fellow-knowers of Wotans unspoken secret
(#154 in the family of motifs based on #35, including #42, #43, #48, and #100)
[[#155]] The Gibichungs Mime-like proffer of false friendship to Siegfried: they will drug
him and exploit him to win honors for themselves which they cant win on their own merits
(#155 is in the family of Gibichung motifs based on a specific interval drop, which
includes #151, #156, #171, and perhaps #165)
[Siegfried in his travels, on one of the new adventures his muse Bruennhilde inspired him to
undertake, having heard Gunthers reputation on the Rhine, has rowed his boat upstream to present
himself at Gunthers Court, Gibichung Hall:]
([[ #155 ]]: At Gunthers invitation, Siegfried advances into the hall.)
Gunther: [[ #155 Loose Vari >>> ]] Greet gladly, o hero, my fathers hall; wherever you tread,
whatever you see, now treat it as your own: yours are my birthright, lands and men by my body
I swear this oath! [[ #155 ]]; #71 vari Hero or #92c?) Myself I give you as
liegeman! [[ #155 Vari ]]
Siegfried: I can offer you neither lands nor men, (#152?) nor a fathers house and court: (#71) I
only inherited this body of mine; (#141) living, I waste it away. (#120 counter-melody; #109/#41)
Ive only a sword which I forged myself [[ #155 ]] by that sword I swear this oath! With myself
I present it as part of the bond.
Hagen: (Having returned [from putting Siegfrieds reluctant horse, Bruennhildes Grane, in the
stable], now standing behind Siegfried: #151/#46/#41 >>) But the tale names you Lord of the
Nibelung Hoard.
Siegfried: (Turning to Hagen: #117?; #5 Vari; #41) Id almost forgotten the treasure, so little I
treasure its barren worth. (#117?) I left it lying inside a cave (#48) where a dragon used to guard
it.
Hagen: (#41) And did you take nothing from it? (#40 Vari; #117?)
Siegfried: (#41; #13, #15, &/or #16?) This metalwork piece, not knowing its power.
Hagen: (#41 Vari) I recognize the Tarnhelm, the Nibelungs artful device: (#42) when it covers
your head, it serves to change you to any shape; (#43) if you want to go to the farthest spot, it
transports you there in a trice. (#41) You took nothing else from the hoard?
Siegfried: (#17>#19 Vari) A Ring.
Hagen: (#150?; #37 Fragment?) Youre keeping it safe? (#150)
Siegfried: (Tenderly) A glorious woman is keeping it safe. (#149?)
Hagen: (Aside: #41 Vari) Bruennhild!
Gunther: [[ #155 Vari >> ]] I want nothing, Siegfried, by way of exchange; I would give mere
dross for your jewels if you took all my wealth [Gut] in return! I serve you gladly without reward.
(Hagen has gone over to Gutrunes door and now opens it. Gutrune comes out, carrying a filled
drinking horn, which she takes over to Siegfried.)
Gutrune: Welcome, guest, [[ #156a ]] to Gibichs home! [[ #156b ]] His daughter brings you this
drink.
([[ #156b>> ]] Siegfried bows to her in friendly fashion and takes the horn. He holds it thoughtfully
in front of him.)
Siegfried: (quietly, but with extreme determination: #140) Were all forgotten that you gave me,
one lesson alone Ill never neglect: - (#134) this first drink (#139 [is this the #Remembrance Motif
from T.3.2?]) to true remembrance [Minne, which also means Love], (#19?) Bruennhilde, I
drink to you.
(#154; [[ #156 ]]: He lifts the horn to his lips and takes a draught. He returns the horn to Gutrune
who, ashamed and confused, stares at the ground. Siegfried fixes his gaze upon her with suddenly
inflamed passion)
Siegfried: [[ #156b>> Vari ]] You who sear my sight with your flashing glance, why lower your
eyes before me? (Blushing, Gutrune raises her eyes to his face.) (passionately: #132varis>>) Ha!
Fairest of women! Close your eyes! (#156 Vari or #137 or #121?) The heart in my breast is burned
by their beam; in fiery streams I feel it consume and kindle my blood! (#161 end: with trembling
voice) Gunther, what is your sisters name? (#153)
Gunther: [[ #156ab>> ]] Gutrune!
Siegfried: (quietly: [[ #156b ]] Are they goodly runes that I read in her eyes? (#45 Fragment: He
seizes Gutrune ardently by the hand.) I offered myself as your brothers liegeman; the proud man
turned me down: [[ #155 ]] would you treat me as brashly as he did if I offered myself as your
husband?
(Gutrune involuntarily catches Hagens eye; she bows her head in humility and, with a gesture
indicating that she feels unworthy of him, leaves the hall with faltering steps. #151; #156ab; #51:
Watched closely by Hagen and Gunther, Siegfried gazes after Gutrune as though bewitched.)
Siegfried: (without turning round) Gunther, have you a wife? [[ #155 Vari ]]
Gunther: [[ #155 vari>>> ]] Ive not yet wooed nor shall lightly have joy of a woman! On one I
have set my mind (#161 End Fragment) whom no (#151) shift can ever win me.
Siegfried: (turning animatedly to Gunther: #152 vari) What would be denied to you were I to stand
beside you? (#141)
[Of course, when Gunther describes Bruennhilde to Siegfried, Siegfried has forgotten her, and
ultimately agrees to abduct her for Gunther.]
[[#156ab]] Gutrune as Siegfrieds false muse and seductress: the authentically inspired artist's
compulsion to grant his audience the gift of clairvoyant insight into the secret of his unconscious
inspiration through a public performance of his art
(Gutrunes Motif #156a Dunning links to the family which includes #22, #74, and #99; #156b is
part of the family of Gibichung motifs which includes #151, #155, and #171, and perhaps #165)
[[#157]] Siegfrieds and Gunthers Blood-brotherhood Oath: Siegfried emulates his archetype
Loge's relationship with the guardian of oaths, Wotan, by agreeing to help the Gibichungs
deceive themselves that they have transcendent value
(#157 possibly derived from #21, according to Dunning)
Gunther: (#35; #100 accompaniment) High on a fell her home
Siegfried: (Breaking in with astonished haste) High on a fell her home?
Gunther: A fire burns round the hall.
Siegfried: A fire burns round the hall? (#128b)
Gunther: (#128b>>) Only he who breaks through the fire

Siegfried: (With an immense effort to recall some forgotten memory) Only he who breaks through
the fire?
Gunther: (#129? [dies out]) May sue for Bruennhildes love.
(#154: Siegfrieds gesture at the mention of Bruennhildes name shows that all memory of her has
faded completely.)
Gunther: (#35?) Now I may not climb that fell: (#154) the fire will never die down for me!
Siegfried: (#33b) Im not afraid of any fire: for you Ill woo the woman; (#33a) for your liegeman
am I and my courage is yours, (#156a) if I can win Gutrune as wife! (#33b)
Gunther: (#156a) I grant you Gutrune gladly. (#33b/#77)

Siegfried: (#33b/#77) Ill bring back Bruennhilde for you.
Gunther: How do you plan to deceive her? (#33ab)
Siegfried: (#33ab; #42?) Through the Tarnhelms disguise Ill change my shape with yours.
Gunther: Swear oaths, then, as a vow.
Siegfried: [[ #157 ]] Let an oath be sworn to blood-brotherhood.
(#51: Hagen fills a drinking horn with new wine and offers it to Siegfried and Gunther, who scratch
their arms with their swords and hold them for a moment over the top of the
horn. #151/#152; #151; #21: Both men place two fingers on the horn, which Hagen continues to
hold between them)
Siegfried: [[ #158>> ]] The freshening blood of flowering life I let trickle into the drink.
(#151/#33ab)
Gunther: [[ #158>> ]] Bravely blended in brotherly love, may our lifeblood bloom in the drink!
(#151/#33ab)
Siegfried and Gunther: [[ #160 ]] Faith I drink to my friend! (#155b vari) (#111 Vari) Happy
[froh] and free [frei] may blood-brotherhood [[ #157 ]] spring from our bond today!
(#21/#151)
Gunther: [[ #159 ]] If a brother breaks the bond
Siegfried: [[ #159 ]] If a friend betrays his faithful friend
Both: [[ #160 ]] what we drank today in drops of sweetness shall stream in rivers, in righteous
atonement of a friend.
Gunther: (#51/#21: drinking and then offering the horn to Siegfried) Thus do I swear the oath!
Siegfried: Thus (he drinks and hands the empty drinking horn to Hagen) do I pledge my faith to
you!
(Hagen strikes the horn in two with his sword. #51/#21; #155; #153; #156: Gunther and Siegfried
join hands.)
[[#158]] Siegfrieds and Gunthers life-blood mixes in the bowl from which they drink.
Siegfried, by granting the unheroic Gunther, Siegfrieds own audience, access

to Siegfrieds muse of inspiration and unconscious mind, Bruennhilde, and therefore access to
Wotans unspoken secret (his hoard of runes) which she keeps, Siegfried makes his audience
(Gunther) indistinguishable from himself. Thus Siegfried transforms himself into Gunther with the
Tarnhelm (#142; #143), which is the basis of the Wagnerian Wonder, Hagens Potion (#154)
(The first 7 notes or so of #158 correspond with #102, the Motif representing Mimes inherent
inability to re-forge Nothung. This suggests #158 is based on #102, suggesting Gunthers craven
nature is akin to Mimes: both Gunther and Mime seek to pull the wool over Siegfrieds eyes to
exploit him for their own betterment, and both employ a potion to this end; though Gunther does
not at first contemplate Siegfrieds death, ultimately he will imitate Mime in wishing for it.)
[[#159]] The Oath of Atonement: Siegfried and Gunther will atone with their blood if they
dishonor this oath to each other
Though it will seem to Gunther later, thanks to Hagens machinations, that Siegfried dishonored
Gunther by laying with Bruennhilde on the very night he abducted her to give her in marriage to
Gunther, Gunther has dishonored himself by exploiting Siegfrieds unconsciousness of his true
situation to grant Gunther an honor he doesnt deserve and should not possess, access to the
unspoken secret (Wotans hoard of forbidden knowledge he confessed to Bruennhilde) formerly
concealed from man by his collective unconscious, Bruennhilde
(#159 is based on #68, and both are based in turn on #19a; through #19, #159 is kin
to #17a, #20a, #50, #51, and #167; #159 is linked by association then also with #46, which is
based on #19b)

[[#160]] The blood-brothers Siegfried and Gunther drink faith to each other as they drink each
other's blood
[[#161]] Hagens Watch Motif By giving his muse Bruennhilde and her secrets away to his
audience (Gunther), Siegfried unwittingly fulfills Alberich's prophecy that Wotan's heroes will
serve him, by bringing Alberich's hoard of knowledge (embodied by his Ring) up from the silent
depths to the light of day
(#161 is based directly on #45, which is essentially a variation of #5ab with #19s harmony, via
intermediate transformations of #5ab such as #15 and #13, and #41)
[While Siegfried and Gunther have cast off down the Rhine in Siegfrieds boat, so that Siegfried
can abduct Bruennhilde for Gunther and Hagen can wait on Siegfried to bring him his father
Alberichs Ring, Hagen, per Gunthers request, guards Gibichung Hall overnight:]
(#151b [as if transforming into #19?]; 103a; #151b; #103a: Siegfried has seized the oar and with
its strokes drives the boat downstream, so that it is soon completely lost from view.)
Hagen: (sitting motionless, his back resting upon the door-post of the hall: #151b) I sit here on
watch, guarding the garth, defending the hall from the foe: [[ #161 ]]; #40 Vari) the wind wafts
(#59a, b, or c? [as if transforming into #19?]) Gibichs son away, awooing he is going.
(#151/#103a) (#92ab) His helm is held by a doughty hero, (#92c?) wholl face every danger for
him: [[ #161 ]] (#154/#103>>) his very own bride hell bring to the Rhine; to me, though, hell
bring the Ring. (#151/#37; #12) [[ #162a ]] You free-born sons, (#51?) carefree companions,
(#37; [[ #162b ]]) merrily sail on your way! [[ #162 End Fragment ]] Though you think him lowly,
youll serve him yet, (Special Motif #20a Vari Minor/#12 [this compound motif deserves motival
status in this list!!!!]) the Nibelungs son! [[ #161 ]]
[[#162ab]] Hagens envy of those who enjoy the subjective, heartfelt consolations of illusion in
religion, art, and love, and intent to venge himself upon them for co-opting his father Alberichs
Ring power without paying its price
(#162abs motival links, if any, not yet ascertained; but Dunning detects #37s influence.)
[See #161 for #162s dramatic context.]
[[#163]] Bruennhildes query of Waltraute: Perhaps Wotan relented in his intent to punish
Bruennhilde, because his punishment (leaving her to be woken solely by a fearless hero) has
become her blessing, since she has won Siegfrieds love
(#163s motival links, if any, not yet ascertained; but I speculate it may owe something to music
which accompanied #99 in V.3.3, when Bruennhilde had finally persuaded Wotan to protect her
vulnerable sleep with a ring of protective fire so she would be woken by, and wed to, only a fearless
hero (in the event, Siegfried), and he became, one last time, tender towards her as he reminisced
about the past, and contemplated the anguish of never seeing her again, while leaving a freer man
than himself heir to Bruennhilde)
Waltrautes Voice: (in the distance: #78a) Bruennhilde, sister! (#78b) Are you asleep or awake?
Bruennhilde: (#91>>: leaping to her feet) Waltrautes call, so blissfully Dear! (#78a: calling
offstage) Are you coming, sister, (#39 Vari; #78a) and boldly flying hither to me? (She hurries
back to the edge of the rock.) (#39 Vari or #103 Vari?) There in the pinewood (#83a [Segment
based on #53]; #78a) known to you yet, (#78a/#77>) dismount from your horse, and leave the
courser to rest. (#78b)
(She plunges into the pinewood, from where a loud noise, like a clap of thunder, can be heard.
Bruennhilde returns, violently agitated, with Waltraute and remains in a state of joyful excitement,
failing to notice Waltrautes fear.)
Bruennhilde: Are you coming to me? Are you so bold? Can you offer your greeting to Bruennhilde
without feeling dread? (#95 Vari)
Waltraute: (#96?) For you alone I hurried here.
Bruennhilde: [[ #163 ]] So, for Bruennhildes sake, youve dared to break War-Fathers ban? Or
what else? O say! Might Wotans heart have relented towards me? [[ #163 ]]; #143?; #96?) When
I shielded Siegmund against the god, erring I know (#96?) I fulfilled his wish nonetheless:
(#95 Vari) that his anger had passed I also know; (#98; #95 Vari [with #94s harmony]) for, though
he locked me in sleep at once, fettered me to the fell and left me, as maid, to the man who chanced
to find and awake me, [[ #163 Fragment ]]; #96b Vari Clarinet >>) he granted my timid entreaty,
(#77) with ravening fire he girded the fell (#77; #33a) to bar the faint-hearts way. (#96b Vari) So
his (#139 Vari; #81b?) punishment made me thrice-blessed: (#140 vari) (#92) the most glorious of
heroes (#139 Vari) won me as wife; (#139 Vari; #140?) (#139 Vari) in his love I exult and glory
today! (#139 Vari)
(#78a/#77: She embraces Waltraute with passionate demonstrations of joy, which the latter
attempts to ward off with timid impatience.)
Bruennhilde: [[ #163 ]] Were you lured here, sister, by my lot? [[ #163 ]] Do you want to feast on
my joy and share in the fate that befell me?
Waltraute: (vehemently: #163 or #156?) Share in the frenzy thats seized you, you fool?
Something else drove me in dread [Angst] to break Wotans behest.
([[ #164 Embryo? ]] [as orchestral explosion?]: Only now, to her surprise, does Bruennhilde notice
Waltrautes wild agitation.)
Bruennhilde: [[ #163 ]]; #156?) Poor sister, youre fettered by dread and fear? So the hard-hearted
god hasnt pardoned me yet? You quail at my punishers wrath?
Waltraute: (#81) If only I feared it, (#37?) my dread would be over! (#? [sounds like a motif
fragment]; #81)
Bruennhilde: (#37?) Stunned, I dont understand you!
Waltraute: Come to your senses, mark me closely! (#39 Vari) Back to Valhalla the same dread
drives me that drove me here from Valhalla!
Bruennhilde: (alarmed) What ails the immortal gods?
Waltraute: (#79? or #80?) Hear and reflect on what I now tell you. (#81) Since he and you were
parted, Wotan has sent us no more into battle; (#81) lost and helpless we anxiously rode to the
field. (#77?) (#81>[[ #164 ]] The Lord of the Slain avoided Valhallas valiant heroes: (#83a
[i.e., #53]) alone on his horse, without rest or repose, (#83b [i.e., #54]) he roamed the world as the
Wanderer. (#20a Vari [with #42 harmony]) He came home of late; (#20b Vari) in his hand he was
holding (#21) his spears (#20a Vari [with #42s harmony]) splintered shards: (#87 [with
Tympani]) theyd been shattered by a hero. (#20a Vari [with #42s harmony]) With a silent sign
he sent Valhallas warriors into the forest to fell the (#146) World-Ash Tree; (#151; #20a Vari
[with #42s harmony]; #87 [with tympani]; #115 Definitive; #20 Vari [triplets on trumpet]) He
bade them pile up the logs from its trunk in a towering heap round the hall of the blessed immortals.
(#20a Vari/#115 >>>>) He convened the council of the gods; his high seat he solemnly took and
on either side bade the anxious gods be seated, inviting the heroes to fill the hall in their circles
and rows. (#20c) So he sits, (#87 [plus tympani]) says not a word, silent and grave, (#87) on his
hallowed seat, with the (#27 or #36 or #116?) splintered spear held tight in his hand; (#29 Vari)
Holdas apples he does not touch: (#19?; #20a?) wonder and fear hold the gods in
thrall; #20/#19/#42) (#161 >>) Both his ravens he sent on their travels: if ever they come back
again with good tidings, (#15?) then once again (#17 Vari?) for one last time (#13) the god
would smile forever. (#13 repeated; #77 Vari) (#81 >>) Clasping his knees we Valkyries lie:
(#45a?) He is blind to our pleading glances; we are all consumed by dismay and infinite dread
[Angst]. (#81/[[ #164 ]]) To his breast I pressed myself, weeping: (hesitating) his glance
grew less harsh; (#99) he was thinking, Bruennhilde, of you! Sighing deeply, he closed his eye
and, as in a (#15) dream, whispered the words: (#19 >>) If she gave back the
(#37) Ring to the deep Rhines daughters (#51) from the weight of the curse (#15/#20c) both god
and world would be freed. I weighed his words: (#81 Fragment/[[ #164 ]]) from his side, through
silent ranks, I stole away; in secret haste I mounted the horse (#91 >>>>) and rode to you like the
wind. (#37 Loose Vari) You, O sister, (#87?) I now entreat: whatever you can, (#87?) have courage
to do it! End the immortals torment! (She has thrown herself at Bruennhildes feet: #?)
Bruennhilde: (Calmly) What tales of fearful dreams are you telling me, sad sister? (#81s twist?)
Poor fool that I am, I have risen above the (#19 Fragment) mists of the (#20a) gods hallowed
heaven [Himmels-Nebel]: I do not grasp what I hear. (#81 Twist?) [[ #164 >> ]]Your meaning
seems wild and confused; in your eye so over weary- fitful fire gleams: [[ #164 Vari ]] with
pallid cheek, wan sister, what would you have me do in your wildness? (#19)
Waltraute: (Vehemently: [[ #167 Embryo? ]]; #? [fire figurations reminiscent of the finales of
S.3.3 and T.3.3?]) Upon your hand, the Ring thats it: O heed my counsel! (#5 Loose Varis) For
Wotan, cast it away from you!
Bruennhilde: (#19 Vari or #167 Vari?) The Ring from me?
Waltraute: (#161 Vari) Give it back to the Rhinedaughters!
Bruennhilde: (#161 Vari) to the Rhinedaughters I the Ring? (#19 Vari) Siegfrieds pledge of
love? (#139) Are you out of your mind?
Waltraute: (#161 Vari) Hear me, hear of my fears! (#19?; #13 Varis) The worlds ill-fate
[Unheil] surely hangs upon it: (#161 Vari >>) cast it away, into the waves! (#161b?) (#13Vari
>>) To end Valhallas distress, (#161a or #15?) cast the accursed Ring into the river.
[[#164]] Bruennhildes loving union with Siegfried, which Wotan hoped would redeem gods and
world from Alberich's Ring-curse, Bruennhilde comes to see as the most sadistic refinement of
Wotan's punishment (and thus of Alberich's curse)
(#164 is the last entry in a series of motif transformations, first described by Cooke, which started
with #21. #21 transformed into #81A, #81A into #81B [Representing Wotans intent to punish
Bruennhilde before Bruennhilde persuaded him to allow only Siegfried to wake and win
her], #81A into #96ab, #96ab into #137 [Siegfrieds fear of waking Bruennhilde], and
finally, #137 into #164. Through #21, #164 is also related to #28, #30b, #60, #62, and
perhaps #115.)
[See #163 for #164s initial dramatic context; see below for a subsequent recurrence crucial for
grasping the overall meaning of #164. Siegfried, having transformed himself into the image of
Gunther with the Tarnhelms magic, has - as only
Siegfried could have - penetrated Loges protective Ring of fire, and stands before Bruennhilde,
who is shocked that some man other than Siegfried could have gained access to her:]
"Bruennhilde: (#19 Chord) Betrayal!
(Bruennhilde shrinks back in terror, fleeing to the front of the stage, from where she fixes her gaze
on Siegfried in speechless astonishment.)
Bruennhilde: (#42 End Fragment >) Who forced his way here?
(Siegfried remains on the rock at the back, observing Bruennhilde and resting motionlessly on his
shield. Long silence: #154; #152)
Siegfried: (With a disguised rougher voice: #42 End Fragment; #87 or #45 Hint?)
Bruennhilde! (#154) A suitor has come, whom your fire did not frighten. (#154) I woo you as my
wife; (#152) follow me of your own will!
Bruennhilde: (Trembling violently) Who is the man (#161) who has done what only the (#42End
Fragment) strongest was fated to do? (#19b?)
Siegfried: (Motionless as before: #154) A hero wholl tame you, (#152) if force alone can constrain
you.
Bruennhilde: (Seized with horror) A demon has leaped on to yonder stone; - (#161 Vari >>) an
eagle came flying to tear at my flesh! (#19/#20a Vari?) Who are you, dread creature? (Long
silence: #42; #87?) Are you of human kind? Are you from Hellas (#42 or #154?) night-dwelling
host? (#154)
Siegfried: (as before, beginning with a somewhat quavering voice but continuing with increasing
confidence: #155?) A Gibichung am I, (#101 Fragment; #152) and Gunthers the name of the hero
whom, woman, you must follow.
Bruennhilde: (breaking out in despair: #81B Varis >>) Wotan, grim-hearted, pitiless
god! (#164) Now I see the sense of my sentence: (#161 >>) To scorn and sorrow you hound me
hence!
[Shortly thereafter Siegfried sadistically forces the Ring off of her finger, and orders her to wait
for him in her cave.]
[[#165]] Siegfrieds ironic employment of his Phallus Nothung to preserve his muse
Bruennhildes chastity and Gunthers honor, so Siegfried can give Bruennhilde unsullied to
Gunther as his wife
Commonly called the Honor Motif: The consequence of the failure of the poet-dramatist
Siegfried to obtain unconscious artistic inspiration through loving union with his muse
Bruennhilde, on this occasion, is that Siegfried will become too conscious of the inner processes
of his formerly unconscious inspiration (as Wagner did) to find redemption in it any longer, and
will expose the muses secrets the formerly unconscious process of religious revelation and
artistic inspiration to the light of day, along with the bitter truth (Wotans hoard of knowledge
which he repressed into his unconscious mind by confessing it to his Will Bruennhilde, a hoard
embodied now by Alberichs Ring), which it was formerly the sole purpose of art to conceal.
(#165s motival links, if any, not yet ascertained; however, it has a two octave drop which may be
a hyperbolic variant of Erdas Ende! This may link it to the set of Gibichung motifs based on a
drop of a specific interval, namely, #151, #155, #156, and #171)
Siegfried: (#151; #87 Vari Trombones: Leaping down from the rock and stepping nearer: #151;
#Hagens Watch Accompaniment; #42 End Fragment) Night draws on: (#154) Within your
chamber youll have to wed me.
Bruennhilde: (Threateningly stretching out her finger on which she wears Siegfrieds Ring: keep
away! Fear this token! (#84; #45?; #19 Vari >>) Youll never force me into shame (#45; #42 End
Fragment) as long as the Ring protects me.
Siegfried: (#161; #42?; #151b; #Hagens Watch Accompaniment >>; #64 Voc? [a possible
reference to music heard when Siegmund sang to Sieglinde in V.1.3: There Nothung the sword
shall shield you, when Siegmund succumbs to your love?]) Let it give Gunther a husbands rights:
be wedded to him with the Ring!
Bruennhilde: (#151b>>) Away, you robber! (#19?) Impious thief! (#19 Vari) Make not so bold as
to near me! (#13 Vari; #153 Varis) The Ring makes me stronger than steel: youll never steal it
from me! (#77?)
Siegfried: (#51) To wrest it from you you teach me now.
(He makes to attack her. They struggle. Bruennhilde breaks free, runs away and then turns to
defend herself. #161/#77 repeated; #150; #151?; #51; #77/#161; #51: He seizes her by the hand
and tears the Ring from her finger. Bruennhilde screams violently. #21?; #139, #153, or #154? [in
a sinuous Vari]; #143: As she sinks down in his arms, as though broken, her gaze unconsciously
meets Siegfrieds. #154?;
#149: He lowers her fainting body on to the stone terrace outside the rocky chamber. #42 End
Fragment.)
Siegfried: (#42 End Fragment; #154) Now you are mine! Bruennhilde, Gunthers bride,
(#153Fragment) allow me to enter your chamber!
Bruennhilde: (staring impotently ahead of her, weakly: #50; #149) How could you stop him,
woman most wretched?
(Siegfried drives her away with a gesture of

command. #151b, #50; #164; #50; #164; [[ #165]]; #21/#57: Siegfried draws his sword.)
Siegfried: (in his natural voice) Now Nothung, (#155) attest that I wooed her chastely: (#156)
(#160) keeping faith with my brother, (#156; #57) keep me apart from his
bride! [[ #165 ]](#42 End Fragment; #154; #149; [[ #165 ]]; #42 End Fragment)
[[#166]] The anguish of being Hagen: Hagen complains to his father Alberich that by virtue of
being heir to Alberich's intent to undermine man's consoling illusions with the bitter truth, Hagen
is doomed to a life of melancholy lovelessness
Hagens poor compensation for being Alberichs son is that thanks to his Hagens heroic,
Nietzschean martyrdom for the sake of honoring the bitter truth, which envies the cheap happiness
of the ignorant but has too much intellectual integrity to be capable of sharing it, Hagen can
discredit mans consoling illusions, which have historically taken mans reason, his objective
mind, prisoner, and supplant them with the will to power, worldly power which can only be
attained by those men brave enough and ruthless enough to discard the illusion of love for the sake
of objective knowledge of man and nature
(#166s motival links, if any, not yet ascertained; but Dunning detects a #37 influence)
Alberich: (softly: #50 vari >>) Are you sleeping, Hagen, my son? Youre asleep and do not hear
me, whom rest and sleep betrayed?
Hagen: ([[ #166 End Fragment ]]: softly, without moving, so that he still seems to be asleep, even
though there is a glassy state in his permanently open eyes.) I hear you, evil elf: What do you have
to tell my sleep? (#161)
Alberich: (#19 Vari; #13 Vari) Be mindful of the power that youll command if youre as
mettlesome (#37) as the mother who gave you birth. [[ #166 End Fragment ]]
Hagen: (as before: [[ #166 ]] Though my mother gave me mettle, Ive no reason to be thankful
(#37) that she yielded to your cunning: (#50?) old too early, pale and wan, (#50?) I hate the happy,
(#37) am never glad [hass ich die Frohen, freue mich nie!]!
Alberich: Hagen, my son, hate the happy! But me, the mirthless, much-wronged dwarf, (#37) you
love just as you ought. (#50?) If youre stalwart, bold and clever, (#37 Vari [in #16s or #17s
rhythm?]) those whom we fight in nightly feud already suffer [Noth] our spite [Neid] [schon
giebt ihnen Noth unser Neid]. (#19 Vari) He who wrenched the Ring from me, Wotan, that furious
robber, was worsted by his own kind: to the Waelsung he forfeited power and might: (#19/#20a)
in company with the whole kindred of gods he awaits his end (#42 End Fragment) in dread
[Angst]. Him do I fear no more: he must fall with all the rest!
Alberich: (#50 Fragment) Are you sleeping, Hagen, my son?
Hagen: (remaining motionless, as before: [[ #166 End Fragment? ]]) The immortals power who
would inherit it?
Alberich: [[ #167 ]] I, and you: well inherit the world if Im not deceived in my trust in you, if
you share my grief and rage. (#57) Wotans spear (#21) was split by the Waelsung (#21?; #126a)
who felled the dragon, (#48?) Fafner, in combat (#33a Fragment; #19; #17 or #16?) and, child that
he is, (#33a/#19 Fragment) won the Ring for himself: (#17 Vari) Every power he has gained;
(#16 or #17 in a new Vari? [is there any #4?] Valhalla and Nibelheim bow down before him; (with
a continuing air of secrecy: #17) even my curse grows feeble in face of the fearless hero:
(#106 Hint?) for he does not know what the Ring is worth, he makes no use of its coveted power.
(#103) (#103 >>) Laughing, in loving desire, he burns his life away. (#151b) To destroy him alone
avails us now. (#37) Are you sleeping, Hagen, my son?
Hagen: (#42?; #151a) To his own destruction he serves me even now. [[ #167 ]]
Alberich: [[ #167 Vari ]] The golden Ring, the circlet, (#? [possible hint of music associated with
the Norns singing of Loge in the olden days in T.P.A?]) must be gained. (#21 Fragment; #88 Voc?
[the urgent #88 Vari associated with Siegmunds resistance to the fate Bruennhilde had announced
to him in V.2.4?] or #90 Voc?) A wise woman lives for the Waelsung alone: (#5?) were she ever
to urge him (#17/#19) to give back the Ring (#4 >>) to the deep Rhines daughters who once
befooled me in watery depths, (#17/#19) the gold would be lost to me then, (#? [music possibly
associated with Loge, and/or from Alberichs remark to Wotan in S.2.1: Were I, as you wish, still
as stupid as then, when you bound the foolish dwarf, how easy, indeed, would it prove (furiously)
to deprive me once more of the Ring.]) no cunning could ever reclaim it. [[ #167 Vari ]] So strive
for the Ring [[ #167 ]] without delay! ([[ #167]]; #41 Fragment; #26a?) Fearless Hagen, I fathered
you to take a firm stand against heroes. (#126a; #5 Vari) Though not strong enough to defeat the
dragon, (#109; #126?) which the Waelsung alone was fated to do
[[ #167 ]] I brought up Hagen to feel stubborn hatred: now hell avenge me (#37 Vari) and win the
Ring in contempt of the Waelsung and Wotan. (#20a/#151/#42 Vari) Do you swear it, Hagen, my
son?
[[#167]] Alberichs demand that Hagen win the Ring back from the religio-artistic men who
have co-opted the power of the human mind (Alberich's Ring) to sustain consoling illusions: this
can only occur through Siegfried the artist-hero's death
Commonly known as the Murder Motif
(#167 is a compressed #19 variant)

[[#168ab]] Hagens Day of triumph over those dedicated to the consoling illusion that man has
transcendent value, an illusion embodied in religion, art, and human relationships
(#168s motival links, if any, not yet ascertained; its inception in the interlude above is actually a
Canon based on #1, somewhat as heard during the Prelude to the entire Ring in R.1, but then the
motif develops a brutal, brassy character associated with Hagens evident day of triumph over
Siegfried, Bruennhilde, and his Gibichung half siblings Gunther and Gutrune.)
[The dawn comes up during the interlude between T.2.1, i.e., Alberichs conversation with Hagen,
and T.2.2, when Siegfried returns to Gibich Hall Instantly with the aid of the Tarnhelm:]
Interlude: "(Alberich has already disappeared completely. Hagen, who has remained in the same
position, stares motionlessly and fixedly at the Rhine, over which the light of dawn is already
beginning to spread: [[ #168a ]]; #161 Chord?; #166 End Fragment?; #5; [[ #168a ]]; #166 End
Fragment?; [[ #168ab ]])
Siegfried: (#162 Vari) Hoiho! Hagen! Weary man! Did you see me coming?
(Hagen rises slowly to his feet. Siegfried is restored to his own shape, though he still wears the
Tarnhelm on his head; he now removes it and, stepping forward, hangs it from his belt.)
Hagen: [[ #168 >> ]] Hey! Siegfried! Fleet-footed hero. From where have you sped?
Siegfried: (#33b) From Bruennhildes rock; it was there that I drew the breath with which I called
your name: (#103) so quick was my journey here! (#103>) Two others (#42/#13 Vari >>) follow
more slowly: (#150 End Fragment?) Theyre coming by boat.
Hagen: So you overpowered Bruennhilde?
Siegfried: Is Gutrune awake?
Hagen: (calling into the hall: #156a>>) Hoiho! Gutrune! Come on out! (#33b Norns vari?)
Siegfried is here! Why linger within?
Siegfried: (turning to the hall: #33b vari) Ill tell you both how I bound Bruennhilde.
(#156/[[ #171 ]]: Gutrune comes from the hall to meet him.)
Siegfried: [[ #169 ]] Bid me welcome, Gibichs child! A goodly herald I am for you.
(#156/[[ #171 ]]
Gutrune: [[ #169 ]] May Freia give you greeting in honour of all women!
Siegfried: (#156/[[ #171 ]]) Be open-handed and well-disposed to me in my happy state

[Freiund hold sei nun mir frohem keep in mind that Freia is also called Holda, and Freias
brother is Froh]: (#110 Vari [or perhaps #145?]) today I won you as my wife.
[One other key dramatic context in which #168 is heard is the Gibichung Vassals mocking chorus
of praise of Hagen who is uncharacteristically taking the part of wedding herald in celebration of
the seemingly joyous, but in fact tragic, double weddings of Gunther with Bruennhilde, and
Siegfried with Gutrune, which Hagen has engineered:]
Hagen: (#168b?) Quaff all you can till drunkenness tames you (#168ab) and all to honour the
gods, (#168 Vari ) that they give a goodly marriage!
The Vassals: (Breaking into ringing laughter: (#168b Vari) Fair fortune and good now smile on
the Rhine, since Hagen the grim can make so merry! The hawthorn bush no longer
pricks. (#171 >>) Hes been installed as bridal herald.
[[#169]] Gutrunes festive welcome to Siegfried in Freias name, and in honor of all women
(#169s motival links, if any, not yet ascertained; however, it sounds as if it may be a festive variant
of Gutrunes Motif #156)
[[#170]] Hagens rallying cry (Danger Noth - is here!) to the Gibichungs to attend the
public exposure of Siegfrieds true relationship with his muse and unconscious repository for
Wotans hoard of forbidden knowledge, Bruennhilde, which will bring about the twilight of the
gods (#54)
(#170 is based on #5ab, and thus linked with other motifs derived from #5ab such
as #13 and #15, #41, #45, and #161)
Gutrune: (#169) Lets welcome her [Bruennhilde] fondly that, care-free, shes glad to stay here!
(#156/#152) [[ #171 ]] You, Hagen, lovingly call the menfolk (#169) to Gibichs Garth for the
wedding! (#156b) Happy women Ill call to the feast. Theyll be glad to follow me in my joy. ()
(Hagen has mounted a rock high at the back of the stage. Here he raises his cowhorn to his lips
and begins to blow) (#168 vari >>) Hagen: [[ #170>> ]] Hoiho! Hoiho Hoho! You men of Gibich,
bestir yourselves! (#5) Woe! (#5) Woe! To arms! To arms! [[ #171 ]] To arms! To arms throughout
the land! [[ #171>> ]] Goodly weapons! Sturdy weapons! Sharp for the fray! (#152) (#54 vari)
Danger [Noth] is here! Danger [Noth]! (#5/#54) Woe! Woe! [[ #170>> ]]Hoiho! Hoiho, hoho!
(Hagen remains in the same position on the rock. Armed vassals enter hurriedly over various
hillpaths, running in singly, then in increasing numbers, before assembling on the shore outside
the hall.)
The Vassals: [[ #172>> ]] Why does the horn ring out? Why does it call us to battle? We come in
arms, we come with weapons. Hagen! Hagen! (#21 [fragmented, as when Siegfried cut Wotans
spear in half?]) Hoiho! Hoiho! (#54) What danger [Noth] is here? What foe is near? Who bids
us fight? (#152/[[ #172>> ]] Is Gunther in danger [Noth]? (#60 or #21 vari?) We come with
weapons, with sharp-edged weapons, with keen-edged weapons! Hoiho! Ho! Hagen!
Hagen: [[ #171 ]]: still in his position on the raised ground at the back.) Arm yourselves well and
do not rest. [[ #171 ]] Gunther you must welcome: (#140 Vari or #143?) hes wooed a wife for
himself.
The Vassals: [[ #172 ]] Does danger [Noth] threaten him? Is the enemy at his heels?
Hagen: A fearsome woman hes bringing home.

The Vassals: [[ #172 ]] Is he being pursued by her kinsmens hostile vassals?
Hagen: (#37) Hes coming alone: no ones following.
The Vassals: [[ #172 Vari ]] So he triumphed over the danger [Noth]? ()
Hagen: The dragon-killer averted the danger [Noth]: (#103 vari>>) Siegfried the hero made sure
he was safe!
[[#171]] The Gibichung Horncall heralding the inappropriate wedding of Siegfried with his
false muse Gutrune, and Gunther (Wagners audience) with Siegfrieds true muse Bruennhilde
(Wagners musical motifs, which keep the profoundest secret of Siegfrieds i.e. Wagners -
poetic aim)
(#171 is in the same family as other characteristic Gibichung Motifs such as #151, #155, #156,
and perhaps #165; Cooke believed #171 was the musical antithesis of Siegfrieds Youthful
Horncall #103.)
[See #169 for #171s initial dramatic context; see #170 for #171s subsequent dramatic context]
[[#172]] The Gibichung Vassals joyous welcome to Gunther and Bruennhilde: By virtue of
Siegfrieds unwitting betrayal of his muse Bruennhilde, Siegfrieds audience (Gunther)
humiliates her and makes a public spectacle of her

[See #170 for #172s initial dramatic context. Probably the most impressive use Wagner makes
of #172 is in the Vassals powerful chorus of welcome to Gunther as he comes on shore with
Bruennhilde:]
(Gunther steps out of the boat with Bruennhilde: the vassals line up respectfully to receive them.
Throughout the following, Gunther leads Bruennhilde solemnly by the hand.)
The Vassals: (#152 loose vari) Hail to you, Gunther! Hail to you, and to your bride! Welcome!
(They strike their weapons noisily together.)
Gunther: (#77 frag; #164 vari: presenting Bruennhilde, who follows him pale-faced and with
downcast eyes, to the vassals: (#172/#152 Vari Fragment >>) Bruennhilde, most hallowed of
women, I bring to you here on the Rhine: a nobler wife was never won! The gods have favoured
the Gibichung race; now let it rise to the highest renown!
The Vassals: (ceremoniously clashing their weapons: #172/#152 Vari Fragment) Hail to you,
happy Gibichung!
(#77; #164: #156?: Gunther leads Bruennhilde, who never once raises her eyes, to the hall, from
which Siegfried and Gutrune emerge, attended by womenfolk)
Gunther: (Pausing outside the hall: #171 [of #156?]) Be welcome, dear hero! Be welcome, fair
sister! (#155) I see you happy beside him who won you as his wife. Two blissful couples I see here
resplendent: (He draws Bruennhilde closer towards them: #171 [or #156?]) Bruennhilde and
Gunther, (#156?) Gutrune and (#109) Siegfried.
(#164: #87?; #42?: Bruennhilde raises her eyes in alarm and sees Siegfried; her gaze remains fixed
on him in amazement. Gunther has released her violently trembling hand and, like the others,
shows genuine perplexity at her behavior.)
[[#173]] Siegfried and Bruennhilde swear oaths against each others testimony, the forgetful
Siegfried denying, and Bruennhilde affirming, that they have been lovers
Bruennhilde, formerly Siegfrieds muse of unconscious artistic inspiration, now wreaks vengeance
on him for betraying the secret processes of his inspiration, and exposing Wotans unspoken secret
(his hoard of knowledge) which she had kept in silence, to the light of day.
[Having seen Siegfried with Gutrune, ostensibly planning to marry her and acting as if he doesnt
even remember Bruennhilde, Bruennhilde has evidently concluded that Siegfried deliberately
mislead her, leading her on, from the beginning, and that he conspired with Gunther to abduct her
and hand her over to Gunther. For this reason Bruennhilde accuses Siegfried of having raped her,
allowing the public to believe that this occurred during Siegfrieds most recent visit, when in fact
Siegfried only made love to her before he met Gunther and became the victim of Hagens potion.
There is thus a public outcry for Siegfried to swear an oath that he did not commit this terrible
offence:]
Bruennhilde: [to Gunther] (#164 Vari) Keep away, betrayer! Self-betrayed! (#82?; #19?) Know
then, all of you: (#101 Unison) not to him [Gunther] (? [What motif is in play???]) but to that man
there [Siegfried] am I wed.
Women: (#164) Siegfried? Gutrunes husband?

Vassals: (#164) Gutrunes husband?
Bruennhilde: (#37 Vari) He forced delight [Lust] from me, and love [Liebe].
Siegfried: (#164?; #149 Voc?) Are you so careless of your own honour? (#15 Vari
[perhaps #15 Vari as heard when Bruennhilde tells Hagen and Gunther in T.2.5 that through her
magical protection, unbeknownst to Siegfried, the front of his body is invulnerable to wounds?])
the tongue that defames it, (#164) must I accuse of lying? ([#33b, #35, #47, or #48 Embryo, or
other music referencing that moment in R.3 when Alberich predicted Loge would one day betray
the gods, just as he betrayed Alberich for the gods sake?]) Listen whether I broke my faith! (#157)
Blood-brotherhood (#158?) have I sworn to Gunther. (#21?; #57?) (#165) Nothung, my worthy
(#21/#151b) sword, defended the oath of loyalty; (#57 Vari [#57transforms into a sinuous variant
here, perhaps as heard in T.2.5 when Bruennhilde tells Hagen and Gunther how Siegfried,
unbeknownst to him, is protected at his front from wounds by her magic?]) its sharp edge sundered
me (#57; #164?) from this unhappy woman. (#164)
Bruennhilde: (#164) You cunning hero, look how youre lying [Luegst], (#150?) just as youre
wrong to appeal to your (#7?) sword! (#59a Vari [or is this the #57 sinuous Vari heard above?])
Well do I know (#57) its sharp-set edge, (#150?) but I also know the scabbard in (#150 Vari) which
your true friend, (#57 Sinuous Vari?), Nothung, rested (#150>>) serenely (#57) against the wall,
while its master won him his sweetheart.
(The Vassals and women gather together in lively indignation.)
The Vassals: What! Has he broken faith! (#150 vari) Has he tarnished Gunthers honor?
Gunther: (#170a) Ill be disgraced, (#150) and held in shame, if you dont refute the words she
utters. (#5/#150)
Gutrune: (#170a) Faithlessly, (#150) Siegfried, you plotted deception? (#33a Vari/#150) Bear
witness that she accuses you falsely!
The Vassals: (#33a/#150) Clear yourself, if youre in the right: silence the charge, swear an oath!
Siegfried: (#170a/#150) If I silence the charge and swear an oath, which of youll venture his
weapon upon it? (#170ab)
Hagen: (#164?; #170ab) The point of my weapon Ill venture upon it: let it honour the oath!
(The vassals form a circle round Siegfried and Hagen. #159; #164 Hagen holds out his spear;
Siegfried places two fingers of his right hand on the point of the spear.)
Siegfried: [[ #173 ]] Shining steel! Hallowed weapon! Assist my eternal Oath!
(#164) [[ #173 ]] By the point of this spear I swear the oath: spear-point, mark what I say! (#164)
(#167) Where blade may bleed me, be it you that bleeds me! (#164) (#167) Where death may
strike, be it you that strikes, (#151?; #82?) if that womans charge is true, if I broke my vow to my
brother! (#77/#78; #150 Vari [as orchestral explosion])
Bruennhilde: (Striding furiously into the circle, tearing Siegfrieds hand away from the spear, and
seizing the tip of it with her own hand: [[ #173 ]] Shining steel! Hallowed weapon! Assist my
eternal oath! (#164; [[ #173 ]] By the point of this spear I swear the oath: (#151?) spear-point,
mark what I say! (#164) (#167) I hallow your thrust that it overthrow him! (#165) (#167) I bless
your blade that it bleed him! (#165) (#164) For, just as he broke every oath he swore, this man has
now forsworn himself!
The Vassals: (in utter turmoil: #172?) Help, Donner! Let your tempest roar (#150 Vari) to silence
this raging disgrace! (#19 Vari &/or #20a? [as orchestral explosion])
(#@: D or E?) Bruennhilde - Siegfrieds surrogate Rhine - protects Siegfried, at the front, from
suffering Wotans unhealing wound, his foresight of the gods (religions) shameful end, so
Siegfried remains free from Alberichs curse of consciousness Bruennhilde as Prometheus, who
grants mortal man both the divine gift of conscious knowledge and foresight, and the means to
redeem ourselves from consciousness of this knowledge, and the fear it engenders, by hiding it
behind the veil of Maya (Wahn), the artistic cunning of self-deceit embodied by religious faith and
art. Bruennhilde betrays the secret of Siegfrieds Achilles Heel to Hagen and Gunther.
((#@: D or E?) is a compound motif comprised of a #15 Variant and a #150 Variant.
See #15and #150 for motival links. #15 of course represents Bruennhildes status as the
unconscious mind, and music, that is, her status as a substitute for restoring the Ring to the Rhine
to end its curse. The unconscious repository for Wotans Hoard of Knowledge (that hoard
represented here by #150), through which Siegfried can learn this knowledge subliminally without
suffering the wounds which consciousness would cause, is the basis of the protection Bruennhilde
grants Siegfried. It explains why he is fearless.)
Bruennhilde: (Wholly absorbed in her thoughts: (#164) What demons art [Unholds List] lies
(#87) hidden here! (#167) (#164) What store of magic (#87)
stirred this up? (#87) Where now is my wisdom against his bewilderment? (#87) Where are my
runes against this riddle? (#87) (#64?) Ah, (#5) sorrow, (#5) sorrow! (#5) Woe! (#5) Ah, woe!
(#134) All my wisdom I gave to him: (#150) (#150 Varis) In his power he holds the maid, in his
bonds he holds the booty which, sorrowing for her shame, (#150?) the rich man exultantly gave
away. (#164 Vari; #21?) (#170a/#164>>) Wholl offer me now the sword with which to sever
those bonds?
Hagen: (Drawing closer to Bruennhilde: #173 [on bassoon?]) Have trust in me, deserted wife!
Whoever betrayed you, I shall avenge it.
Bruennhilde: (Looking around weakly: #173?) On whom?
Hagen: (#175 Fragment) On Siegfried, who deceived you.
Bruennhilde: (#173 Fragment) On Siegfried? You? (smiling bitterly: #150 Vari; #143 Hint
or #149?) A single glance from his flashing eye (#154) which, even through his false disguise
[Luegengestalt] (#149) brightly lighted upon me, (#103) would make your greatest courage
quail! (#173)
Hagen: (#173) Would not his false oath mark him out for my spear?
Bruennhilde: [[ (#@: D or E?) Bruennhildes Protection of Siegfried From the Unhealing Wound
of Foresight Motif: #15 Vari/#150? ]]; #173?) Oaths true or false an idle concern! (#92) ([[ (#@:
D or E?) Bruennhildes Protection of Siegfried From the Unhealing Wound of Foresight: #15 Vari
>>;#150? ]]; #13?) Seek stronger means to arm your spear (#? [sounds like a fragment of (#@:
D)]) if youd best the strongest of men. (#167)
Hagen: (#? [A Loge-related harmony???!!!]) How well do I know his conquering strength, (#167?)
how hard it would be to kill him in battle: (#33a Vari >> [a variant of #33a associated with the
Norns?]) so whisper me sound advice and say how the hero may yield to my might.
Bruennhilde: (#64 &/or #63? [possible reference to the vocal line of Siegmunds thanks to
Sieglinde for the drink she gave him: Cooling comfort came from the spring?]) O rank
ingratitude! Shameful reward! (#23 or #139? [or other music associated in S.3.3 with Siegfried
reaching the crest of Bruennhildes Rock during the transition S.3.2-3?]) [[ (#@: D or E?)
Definitive Motif of Bruennhildes Protection of Siegfried From the Unhealing Wound of
Foresight: #150 Vari/#15 Vari ]] Not a single art [Kunst] was known to me (#? [This may be
very important to know!!!!!]) that did not help to keep his body safe! (#141 Vari >>; #? [perhaps
referencing something Siegfried sang to the Woodbird in S.2.3?]) Unknown to him, he was tamed
by my magic (#92?) spells (#141?; #143? [or perhaps some other music associated in S.3.3 with
Bruennhildes request that Siegfried not destroy her by forcing his love on her, or associated in
V.3.1 with Bruennhildes announcement that Sieglinde was carrying the greatest hero in her
womb, or her naming of Siegfried, of Sieglindes praise of Bruennhilde?]) which ward him now
from wounds.
Hagen: (#173 Vari) And so no weapon can harm him? (#167)
Bruennhilde: In battle, no! (#50? [didnt Dunning mean #150?]) But if you struck him in the
back. [[ (#@: D or E?) Definitive Motif of Bruennhildes Protection of Siegfried From the
Unhealing Wound of Foresight: #15 Vari/#150 Vari ]] Never, I knew, (#92) would he yield to a
foe, (#92; #15 Vari) never, fleeing, present his back; (#57) [[ (#@: D of E?) Definitive Motif of
Bruennhildes Protection of Siegfried From the Unhealing Wound of
Foresight: #150 Vari/#15Vari ]] and so I spared it the spells protection.
(#141 Fragment; #150 Vari)
Hagen: (#5 or #151a?; #164; #34 or #33b?) And there my spear shall strike him!
[[#174abc]] The Rhinedaughters second lament for the lost Rhinegold: they sing of their
longing to restore a sacred past, an innocence long gone, and hope the hero Siegfried will restore
what they have lost
(#174abc is a loose inversion of Woglindes Lullaby #4, to which she introduced the first words
of the Ring: #4 was Wagners Ur-melody, or Mother-Melody; #4 is the basis for the
Woodbirdsongs #128ab and #129ab; as a pentatonic primal melody #174 is related to #98)
Prelude: (#103, #103, #? [A twisting figure reminiscent of one heard in S.2.2 when Siegfried
inadvertently woke Fafner by playing his horn in order to find a boon companion, after failing in
his attempt to imitate the Woodbirds tune with his home-made
flute; #170a; #171; #170a, #171; #103; #1 Canon; #15/#3 Vari; #171/#12; #12; #103; #12?; [[ #1
74c ]]; [[#174abc ]]/[[#175 Fragment ]]: The curtain rises. A wild, wooded, and rocky valley along
the Rhine, which flows past a steep cliff at the back of the stage. The Three Rhinedaughters -
Woglinde, Wellgunde, and Flosshilde swim to the surface and swim round in a circle, as if
performing a dance.)
The Three Rhinedaughters: (pausing briefly in their swimming: [[ #174b ]] The Sun-Goddess
sends her [[ #175 ]] bright-shining beams; (#33b or #97?) night lies in the depths: (#12 frag) once
it was light when, [[ #175 ]] safe and hallowed, our fathers gold (#12) still gleamed there.
Rhinegold, radiant gold! (#54?) How brightly you used to shine, [[ #174c ]] you hallowed star of
the deep. [[ #174abc ]]: They resume their aquatic dance.) [[ #174b ]]Weialala [[ #174c
]] leia, [[ #175 ]] wallala weialala! (#103 frag: distant horncall; [[ #175 ]];#33b?: they listen, then
beat the water in jubilation: [[ #175>> ]] O Sun-Goddess, send us the hero who may give us back
the gold! (#12) If he left it with us, [[ #175 ]] your bright-shining eye wed then
need (#12) envy no longer! (#107 vari?) Rhinegold, radiant gold! [[ #174c ]] How happily then
you would shine, [[ #175 ]] you free-spirited star of the deep!
(#103: Siegfrieds horn call is heard, closer than before: #175 [#175, representing the
Rhinedaughters joyous swimming in the Rhine, begins to sound throughout this scene both like
music characterizing fire, but also the music which described the fluttering of the Woodbirds
wings])
Woglinde: [[ #176 ]] I can hear his horn.
Wellgunde: [[ #176 ]] The heros approaching.
Flosshilde: Let us take counsel!
(#175 [sounding like Loges flames]: All three plunge beneath the waves. [[ #176 ]]: Siegfried
appears on the cliff, fully armed.)
Siegfried: [[ #176 ]] #Voc? [Is this a musical allusion to Siegfrieds remark to himself at the
beginning of S.3.2: My Woodbirds flown away. With fluttering flight and sweet-sounding song
it blithely showed me the way.?]) An elf [Albe] has led me astray, so that I lost the trail:
(#103 frag; [[ #176>> ]] Hey, rogue! In which hill have you hidden the game so swiftly?
The Rhinedaughters: (#174abc): Resurfacing and resuming their dance) Siegfried!
Flosshilde: (#174b>>) Why are you grumbling at the ground?
Wellgunde: With whatever elf are you angry?
Woglinde: Has a nixie been teasing you? (#175)
All three: (#174c) Tell us, Siegfried, tell us! [[ #176 ]]
Siegfried: (observing them with a smile.) Did you spirit away the shaggy-haired fellow who
disappeared from my sight? ([[ #176 ]]; #4 or #128b?) If hes your lover I gladly leave him to you,
you light-hearted women!
(The Rhinedaughters laugh: #175 [but now #175 sounds like the music describing the Woodbirds
wings fluttering when it led Siegfried to Bruennhilde in the finale of S.2.3 and the beginning of
S.3.2, as well as some of Loges fire-music])
Woglinde: [[ #176>> ]]; #156 or #163 vari?) Siegfried, what will you give us (#Orch? [Sounds
like the music describing Siegfried running off after the Woodbird in S.2.3 after it told him to seek
Bruennhilde, as it guides him to her]) if we grant you your game?
Siegfried: Im still without a catch, so ask what you desire. (#15/#12)
Wellgunde: (#17/#19 vari) A golden ring glints upon your finger.
All Three: (#37) Give that to us!
[At the end of this scene, after Siegfried has refused to grant the Rhinedaughters his Ring because
they sought to appeal to fear rather than to love, #176 recurs in an important context as they
chastise him for losing and forgetting - the gift Bruennhilde had granted him:]
The Rhinedaughters: (#175>>>>) Come, sisters! Flee from the fool! (#164 plus #19? or #176?)
Wise and strong as he weens himself, the hero is hoppled and blind. (#174a vari; #175: In wild
agitation they swim close to the shore in widening circles.) (#174a vari) Oaths he swore (#174b)
(#174a vari) and doesnt heed them; (#175: more violent movement) (#174a) runes he knows
(#174b) (#174a) and cannot read them.
Flosshilde, then Woglinde: (#149/#174a>>) A most hallowed gift was granted to him (#176)that
hes cast it away (#176) he doesnt know:
Flosshilde: (#176 Vari) the Ring alone, Wellgunde: which will deal him death
All Three: the circlet alone he wishes to keep! (#19 vari) (#19vari/#175>>>>) Fare well, Siegfried!
A proud-hearted woman will be your heir today, you wretch! Shell give us a fairer hearing:
(#174a) (#174a) To her! To her! To her!
(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.)
[[#175]] The Rhinedaughters swim jubilantly (as they once did in celebration of the Rhinegold),
excited by the prospect that a hero might restore the stolen Rhinegold to them, to truly not
artificially, as in art restore lost innocence
(#175 is a member of the motif family known as Motions of Nature, which

includes #2, #3, #11, #14, and #38)
[See #174abc for #175s dramatic context]
[[#176]] Siegfried has lost his path back to his muse of inspiration and unconscious mind,
Bruennhilde: a motival reminiscence of the Woodbird's revelation that the sleeping Bruennhilde
waits for Siegfried to wake, woo, and win her love
(#176s motival links, if any, not yet ascertained; but #176 sounds as if it may contain scarcely
recognizable fragments of one or two other motifs, including motival material relating to the
Woodbirds motifs and/or fluttering of its wings, and/or Loges fire, perhaps #100, the Magical
Fire Music.)
(#@: E or F?) The Motif of Remembrance: thanks to Hagen (Siegfrieds natural impulse to make
what was unconscious conscious), Siegfried involuntarily betrays the secret of his (Wagners)
unconscious artistic inspiration (loving union with his muse Bruennhilde) in his (Wagners)
narration of how he came to grasp the meaning of birdsong (how Wagner came to create his Ring)
Siegfrieds narrative of how he came to grasp the meaning of Birdsong, presented to the
Gibichungs at Hagens behest, is Wagners metaphor for the presentation of his own Ring to his
audience, in which his musical motifs (represented by the Woodbirds Songs) betrayed the secret
of his formerly unconscious artistic inspiration (and therefore retroactively betrayed the mystery
of religious revelation, which gave birth to the gods) to his audience. This is Wagners confession
of an unwitting sin for which the world may never forgive him, his betrayal of the last refuge of
religious faith and of mans longing for transcendent value, music, by making it think!
((#@: E or F?), the #Motif of Remembrance, is evidently either a #174c inversion (in which case
it may evoke #4, Woglindes Lullaby, since #174 is a loose inversion of #4), or a #139Variant?
This particular motifs motival basis and links need to be ascertained!!!)
[The Rhinedaughters have just left Siegfried to his fate after warning him, unsuccessfully, that if
he doesnt give them his Ring, in order that they can end its curse, he will die this very day. Horns
are heard as he awaits the hunting party of Gunther, Hagen, and the Gibichungs, which Siegfried
lost earlier, but who have found him on the banks of the Rhine:]
(#103; #171; #103 [recalling how Siegfried once woke Fafner by playing his Youthful Horn Call
on his horn])
Vassals: (Offstage) Hoiho! Hoiho!
Siegfried: Hoiho! Hoiho! Hoihey!

(#103 Fragments: Hagen appears on the cliff top, followed by Gunther.)
Hagen: (Catching sight of Siegfried: #103 Fragments [as heard during Siegfrieds re-forging of
Nothung in S.1.3?]) At last we found where you fled?
Siegfried: Come below! Its fresh and cool here!
(#103; #171; #103; #174a/#103; #103; #171?: The Vassals all arrive on cliff top and, together with
Hagen and Gunther, descend into the valley.)
Hagen: (#40?; #67?) lets rest here and prepare the meal. (The spoils of the hunt are placed in a
pile.) Put down the bag (#176? [&/or an orchestral figure heard in R.4 when Loge was preparing
to release, or releasing, Alberich from his bonds after hed ransomed his life by giving Wotan his
Hoard, Tarnhelm, and Ring?]) and hand round the wineskins!
(#103 >>: Wineskins and drinking horns are produced. All settle down. #126a Inversion [repeated
and strongly emphasized!!!]; #176?)
Hagen: (#152 [in a festive mood but perhaps with #19s harmony?] He who scared away our
game, youll now hear wondrous things of all that Siegfried hunted down.
Siegfried: (#152 Vari >>) Im ill-provided for my meal: some of your spoils I must beg for myself.
Hagen: (#174a) Youre empty-handed?
Siegfried: (#103 Vari) I set out in search of Wood-game (#174a/#103 >>) but only waterfall
showed itself: had I been better equipped, (#174b/#103 Fragment; #175 &/or #33b or #3?) I might
have caught you three wild waterbirds, (#175; #174c) who sang to me there on the Rhine
(#174a/#164) that I would be slain today.
(#164?: Gunther starts up and looks darkly at Hagen. Siegfried settles down between Gunther and
Hagen.)
Hagen: (Giving instructions to one of the Vassals to fill a drinking-horn for Siegfried, which he
then offers to the latter: (#170a; #152 Vari >>; #21 Voc?) It would be an ill-fated hunt if the
luckless hunter himself were brought down by a lurking head of game!
Siegfried: (#154) Im thirsty!
Hagen: [[ (#@: E or F?) Motif of Remembrance: #174c Inversion [or #139?, or something
Siegfried sang to, or heard sung by, the Woodbird, in S.2.3?]] Siegfried, Ive heard it said you can
understand (#128b; #? [a hint of #104, #110, or#145, or referencing some music which
accompanied, or was sung by, Mime when told Siegfried how his mother died giving him birth?])
the language of birdsong: can
it be true? (#128b Fragment)
Siegfried: (#149 or #150? [or #168?]) Its long since Ive heeded their warbling.
(#174a Vari; He seizes the drinking-horn and turns to Gunther with it. #171: He drinks and offers
the Horn to Gunther.)
Siegfried: (#171 Vari) Drink, Gunther, drink! To you your brother brings it.
(#159/#150; #137 or #164?: Gunther looks into the horn with horror.)
Gunther: (Dully: #159) Youve mixed it insipid and pale: (#159/#150? [or #137 or #164?]) (Even
more subdued: #170a/#164) Your blood alone is in it. (#174a Vari)
(#171: He pours wine from Gunthers horn into his own so that if overflows.)
Siegfried: (#111 Vari [as heard during Siegfrieds and Gunthers Blood-brotherhood oath when
they sang: happy and free , etc., i.e., froh und frei, invoking the god Froh and his sister
Freia]) Mixed, its overflowed (#Voc? [What Motif is in play here???!!!] to Mother Earth [Mutter
Erde, i.e., Erda] (#156a/#33b Vari) let it bring refreshment! (#35 Vari/#33b?)
Gunther: (With a deep sigh: #35 Vari/#33b?; #? [music from the finale of T.2.5,
perhaps #155, #156, or #164?]) You overjoyous hero! (#42 Vari/#33b)
Siegfried: (Quietly to Hagen: #42 Vari/#33b) Is Bruennhilde making him brood? (#42Vari/#33b)
Hagen: (Quietly to Siegfried: #166 Voc?) If only he understood her [Verstuend er sie so gut] [[
(#@: E or F?) Motif of Remembrance: #174b Vari [or #139, or something Siegfried sang to, or
heard sung by, the Woodbird in S.2.3?] ]] as you do the singing of birds! (#128b?; #129?)
Siegfried: (#174a Vari) Since Ive heard (#174a) women (#129b) singing, Ive quite forgotten
those songsters.
Hagen: Yet once, you knew what they said? [[ (#@: E or F?) Motif of Remembrance: #174b Vari
[or #139, or something Siegfried sang to, or heard sung by, the Woodbird in S.2.3?] ]]
Siegfried: (Turning animatedly to Gunther) Hey! Gunther, woebegone man! (#152 Vari) (#41Vari)
If youll thank me for it, Ill sing you tales about my boyhood [Jungen] days. (#41Vari)
Gunther: (#41 Vari) Id like to hear them.

[Siegfried then narrates the story of how he came to learn the meaning of birdsong: about his
upbringing by the nefarious and treacherous Mime, his re-forging of his fathers sword, his killing
of Fafner with that sword, how through the taste of Fafners blood he acquired the gift of
understanding the meaning of birdsong, and of how the bird told him, first, the use of the Hoard,
Tarnhelm, and Ring, and instructed him to obtain retrieve them from Fafners cave, and finally,
how the Woodbird forewarned him of Nietzsches treachery, and how, after Mime admitted his
guilty intention to murder Siegfried, Siegfried killed Mime instead. Since Hagens potion, which
Gutrune gave Siegfried in T.1.2, obliterated Siegfrieds memory of Bruennhilde and of all which
could remind Siegfried of his former relationship with her, Hagen now has to offer Siegfried a
drink spiced with the antidote to that original potion of love and forgetting, so that Siegfried,
remembering his original relationship with Bruennhilde, will appear to Gunther to have had sexual
relations with the very woman Siegfried won for Gunther, as a pretext for Hagen to murder
Siegfried to atone for breaking his Blood-brotherhood oath to Gunther. Since Hagens offer of this
potion to waken Siegfrieds memory is a crucial part of the dramatic context of (#@: E or F?), The
Motif of Remembrance, I reproduce it below, though the Motif of Remembrance may not recur at
this point:]
(Hagen has the drinking-horn refilled and squeezes the juice of a herb into it.)
Two Vassals: (#66?) What else did the bird have to tell you?
Hagen: (#153) Drink first, hero, from my horn. (#153) Ive seasoned a sweet-tasting [holden]
drink (#153) to stir your memory afresh. (#42 End Fragment: He hands Siegfried the Horn: #154)
so that distant [fernes] things dont escape you! (#154)
Siegfried: (Gazing thoughtfully into the horn and then drinking slowly from it. #150; #66; #149)
In sadness I raised an ear to the treetop: (#11 Vari) It sat there still and sang: (#129 >>>) Hey!
Siegfrieds now slain the evil dwarf! Now I know the most glorious wife for him: (#129a?) High
on a fell she sleeps, (#128a?) fire burns round her hall; (#128b) if he passed through (#15) the
blaze (#128b) and awakened (#15) the bride, (#128 End Fragment) Bruennhilde would then be
his!
Hagen: And did you follow (#128b Fragment) the birds advice?
Siegfried: (#128b Fragment) Without delay I set out at once (Gunther listens with increasing
astonishment. #35 Vari >>) till I came to the fiery fell; I passed through the flames and found as
reward (with mounting ecstasy: #24; #139) a wondrous woman asleep (#98 >>) in a suit of shining
armour. (#98) I loosed the glorious (#98) womans helmet; (#98) (#98) emboldened, my kiss
awoke her: [Ive reversed the order of Spencers English translation to reflect that of the original
German below:] (#134) Oh! How clasped me in its ardor (#139; #? [is there any #23 or #99 here?])
the fair Bruennhildes arm!
[Hagen uses this admission as a pretext to murder Siegfried by spearing him in the one spot
Bruennhilde had told Hagen her magic had not protected, his back.
Therefore Siegfried, the hero whose heroism is the natural consequence of his unconsciousness of
his past, his true identity, or his future, is killed by a remembrance of who he is, killed from behind
by a memory of that which Wotan, in his confession to Bruennhilde, had presumably put behind
him, out of sight and out of mind. Siegfried is himself culpable in this, because he betrayed his
muse of inspiration, Bruennhilde, by giving her and her unspoken secret, Wotans hoard of
forbidden self-knowledge, away to his audience through his musical motifs.]
[[#177ab]] Siegfrieds Death-Stroke: Hagen stabs him in the back with the memory of his true
identity as Wotan. Siegfried was predestined to his tragic end by the hubris he inherited from
collective, historical, religious man (Wotan), and from all other inspired artists (fellow-Loges)
whose cunning aided and abetted mans sin of self-deceit and world-denial (against truth, all that
was, is, or will be)
Siegfrieds death - Wagners metaphor for the end of unconsciously inspired art and of mans
religious impulse, which had taken refuge from science there - was predestined. Siegfried, the
secular artist-hero Wagner, in whose art religious feeling lived on when religious thought, as a
false claim on the truth, could no longer be sustained in the face of science, had unwittingly
perpetuated religious mans matricide, his figurative murder of his mother, Nature (Erda), by
creating works of art, inspired by his muse Bruennhilde, which offered man redemption from
Erdas knowledge of the truth. Religious man had based lifes meaning on the illusion that man
can transcend nature (Erda), which was predestined to destruction by the truth (mans ever
increasing hoard of knowledge), which would inevitably rise to consciousness in the course of
world-history.
Erda (Mother Nature) foresaw that Alberich would inevitably overthrow the gods and their
proxies, since ultimately the truth (Erdas knowledge of all that was, is, and will be, and that all
things will end) will overthrow all illusions of mans transcendent value upon which religio-artistic
man has based his happiness. Siegfried, unwitting heir to Wotans hoard of knowledge of Erdas
bitter truth, has fulfilled Alberichs threat to raise his hoard (Wotans hoard of knowledge) from
the silent depths (of Siegfrieds unconscious mind, Bruennhilde), to the light of day, and to storm
Valhalla (as Siegfried figuratively raped the New Valhalla, the new religion, music, represented
by Bruennhilde). Siegfried is therefore too conscious to seek redemption any longer through
unconscious artistic inspiration, so Bruennhilde, his formerly unconscious mind, now wakes
forever. There is no going back, no redemption, except in the permanent loss of consciousness
itself.
(#177s motival links, if any, not yet ascertained; however, #177b is superficially reminiscent
of #89.)
[At Hagens behest, Siegfried has just finished telling Gunther and the Gibichung Vassals how he
learned the meaning of bird-song through the taste of the blood of a
dragon (serpent) he had killed [Fafner], and how the Woodbird told him to take possession of
Alberichs Ring and Tarnhelm, and of Mimes treachery. Siegfried having just now described
how he killed Mime for trying to offer him a poisoned drink, after having been warned by the
Woodbird of Siegfrieds intentions, and informed that Siegfried would be able to detect Mimes
ulterior intent during Mimes protestations of false friendship - now, strangely, accepts a drink
which Hagen has prepared for him, without evident suspicion. It is the antidote to Hagens potion
of oblivion (of memory) and love which Siegfried had drunk at Gutrunes behest earlier. Hagens
sole purpose is that Siegfried will now remember what Hagens earlier potion had made him forget,
his true relationship with Bruennhilde, whom Siegfried has now given to Gunther as his wife, and
that Siegfried will confess before Gunther that he has had sexual relations with Bruennhilde,
exposing himself to justifiable revenge at Hagens hands to atone for dishonoring his Blood-
brother Gunther:]
Hagen: (#153) Drink first, hero, from my horn: (#153) Ive seasoned a sweet-tasting drink (#153)
to stir your memory afresh (#42 end; #154) so that distant [Fernes] things dont escape you!
Siegfried: (gazing thoughtfully into the horn and then drinking slowly from
it: #150 vari; #66; #149) in sadness I raised an ear to the treetop: (#11 vari) it sat there still and
sang: (#129ab >>>) Hey! Siegfrieds now slain the evil dwarf! Now I know the most glorious
wife for him: (#128b?) high on a fell she sleeps, (#128b?) fire burns round her hall; (#128b) if he
passed (#15) through the blaze, (#128b) and awakened (#15) the bride, (#128b end) Bruennhilde
would then be his!
Hagen: And did you follow (#128b frag) the birds advice?
Siegfried: (#128b frag) Without delay I set out at once (Gunther listens with increasing
astonishment: #35 vari>>) till I came to the fiery fell; I passed through the flames and found as
reward (with mounting ecstasy: #24 >>) a wondrous woman asleep (#98>>) in a suit of shining
armour. (#98?) I loosed the glorious womans helmet; (#98?) emboldened, my kiss awoke her:
(#134; #139 vari>>) oh! How the fair Bruennhildes arm clasped me in its ardour!
Gunther: (leaping up in utter horror) Whats that I hear?
(#33b: Two ravens fly up out of a bush, circle over Siegfried and then fly off in the direction of
the Rhine.)
Hagen: Can you also guess what those ravens whispered?
(Siegfried starts up suddenly and, turning his back on Hagen, watches the ravens fly away.)
Hagen: (#51/#170a>>) To me they counseled vengeance!

(Hagen thrusts his spear into Siegfrieds back. Gunther and the vassals throw themselves at
Hagen. #92: Siegfried raises his shield in both hands in order to throw it at Hagen; his strength
fails him; the shield falls to the ground behind him and he himself collapses on top of it. [[ #177ab
]])
Four Vassals: (having tried in vain to restrain Hagen) Hagen, what are you doing! [[ #177ab ]]
Two Others: What have you done? (#87)
Gunther: (#159) Hagen, what have you done? (#159)
Hagen: (#159) A false oath I avenged!
[[ #177ab ]] Hagen turns away calmly and disappears over the cliff top, where he can be seen
walking away slowly through the gathering gloom. Griefstricken, Gunther bends down beside
Siegfried. In a gesture of sympathy, the vassals form a circle round the dying man. #87 plus drums
Crisis)
Siegfried: (Supported in a sitting position by two men, opens his eyes radiantly: #138[including
harp music, trills, and shimmers from Bruennhildes awakening in S.3.3]) Bruennhilde: Hallowed
bride, awaken! (#139) Unclose your eyes! (#87 Vari) Who locked you in sleep once again?
(#87 Vari) Who bound you in slumbers dread bonds? ([#Morse-code like figures from her original
awakening in S.3.3]) One came to wake you; (#92) his kiss awakes you and once again he (#92)
breaks the brides bonds: (#92) and Bruennhildes joy laughs upon him. (#92) (#140 >>) Ah!
Those eyes now open forever! (#140) Ah, this breaths enchanted sighing! (#141) Sweet
extinction [Suesses Vergehen], - (#141) blissful terror [seliges Grauen]: Bruennhilde (#87)
gives me her greeting!
Interlude: Siegfrieds Funeral Procession: (Siegfried sinks back and dies. Motionless grief on
the part of those around him; [[ #177ab ]]; #66; [[ #177ab ]]; #66; #? [possible reference to music
heard in S.3.2, possibly #66, #81, or #87, in association with Wotans telling Siegfried that if
Siegfried knew who Wotan disguised as the Wanderer was, hed respect him, and that
Siegfrieds disrespect is painful to Wotan?]; night has fallen. At Gunthers silent command, the
vassals lift up Siegfrieds body and, during the following, carry it away slowly in solemn
procession over the cliff top. [[ #177ab Brass ]]; #71; [[ #177ab ]]; #70; #63/#66. The moon breaks
through the clouds and casts an increasingly bright light on the funeral procession which has now
reached the top of the cliff. #40; #64; [[ #177ab ]]: Mists have risen from the Rhine and gradually
fill the whole of the stage, on which the funeral procession has already become invisible, so that it
remains completely hidden through the musical interlude. #66/[[#177 Fragment ]]; #57; [[ #177a
in Major ]]; #92/[[ #177b Major ]]; #92abc [#92c or #71Vari Hero?: i.e., the motif in V.3.1
associated with (She takes the fragments of Siegmunds sword from beneath her coat of mail and
hands them to Sieglinde, and with Bruennhildes
remark in V.3.1: receive his name from me?]; #148; [[ #177a ]]; #148; [[ #177b ]] #148:
From this point onwards the mists begin to divide again, until the hall of the Gibichungs can be
made out once more, as in the opening act. #149 Vari; [[ #177ab ]]; #149 Vari; #170a?)
[[#178 = #93]]Wagners Hymn (Sieglindes Sublime Wonder) to the failed artist-hero
Siegfried and his muse of formerly unconscious artistic inspiration, Bruennhilde, who thanks to
Siegfrieds betrayal of Wotans unspoken secret, which she had kept in silence, to the light of
day, now wakes forever, and becomes the voice of her mother Erdas (Natures) objective
knowledge of their fate
Sometimes called The Redemption Motif, or the Motif of Redemption by Love, but this is
incorrect.
(See #93 for motival links)
(#115; #54; #2 [sounding like #1]: She signals to the Vassals to bear Siegfrieds body to the funeral
pyre; at the same time she draws the Ring from his finger and gazes at it thoughtfully.)
Bruennhilde: My inheritance now I take as my own. (#19) Accursed band! (#19) (#164?; #19Vari)
Fear-ridden Ring! (#5/#15 Vari >>) I grasp your gold and give it away. (#59c; #12) Wise sisters
(#59c/#174a >>) of the watery deep, (#4?) you daughters who swim in the Rhine, (#59c/#174a) I
thank you for your sound advice! (#59a, b, or c?) I give you what you covet: (#12) (#Voc? [perhaps
a reference to music associated in V.3.1 with Bruennhildes proclamation that Sieglinde, who had
contemplated suicide, should live for her unborn child, prior to naming Siegfried and the
introduction of #92 and #93?]) from my ashes take it as your own! (#12 Fragment) Let the fire that
consumes me (#12 Fragment) cleanse the Ring of its curse: (#174c; #19 chords?) in the
floodwaters let it dissolve, (#5?) and safely guard (#19?) the shining gold (#19 Vari; #51?) that
was (#37) stolen to your undoing.
(#37; #98?; #19?; #21: She has placed the Ring on her finger and now turns to the pile of logs on
which Siegfrieds body lies outstretched. She seizes a great firebrand from one of the vassals,
brandishes it aloft and points to the back of the stage.)
Bruennhilde: (#35?; #34) Fly home, you ravens! (#35) Whisper to your lord what you heard here
by the Rhine! (#33) (#35; #33>>>>) Make your way past Bruennhildes Rock: tell Loge, who
burns there, to haste to Valhalla! (#54 >>>; #37) for the end of the gods (#2 [sounding like #1]) is
dawning now: (#54 >>>) thus do I hurl the torch (#45 Chords) into Valhallas proud-standing
fortress. (#20a Hint?)
(She hurls the firebrand on to the pile of wood, which quickly ignites. #34: Two ravens have flown
up from the rock on the riverbank and disappear in the background. She catches sight of her horse,
which two men have just led in. #78?; #77?)
Bruennhilde: (#77/#34>>) Grane, my horse, take this my greeting!
(She has leapt towards it. Taking it, she quickly removes its bridle and leans towards it,
confidingly.)
Bruennhilde: (#77; #100 Accompaniment) Do you know, my friend, (#77) where Im taking you
now? [[ #178=#93 ]] Lit by the fire, (#92) [[ #178=#93 ]] your lord lies there, (#92) Siegfried, my
blessed hero. (#77; #78) You whinny with joy to follow your friend? (#35) Does the laughing fire
(#78a) lure you to him? [[ #178=#93 ]] Feel how the flames burn in my breast, [[ #178=#93>>>>
]] effulgent fires seize hold of my heart: to clasp him to me while held in my arms and in mightiest
love to be wedded to him! (#78/#92) Heiaho! Grane! [[ #178=#93>>>> ]] Greet your master!
Siegfried! Siegfried! See! (She has leapt on to the horse and raises it to jump: #134 Vari Voc
or #92c or #71 vari Hero?) In bliss your wife bids you welcome!
[#178=#93 is the most prominent motif heard in the final moments in the apocalyptic finale of
the Ring as we see Valhalla and its gods and heroes burning in the distance:]
(#4/#3: A red glow breaks out with increasing brightness from the cloudbank which had settled
on the horizon. By its light, the three Rhinedaughters can be seen swimming in circles and merrily
playing with the Ring on the calmer waters of the Rhine, which has little by little returned to its
bed. #20a in a glorious vari; #4/#178=#93/3: From the ruins of the fallen hall [Gibichung Hall
burned up], the men and women watch moved to the very depths of their being, as the glow from
the fire grows in the sky. As it finally reaches its greatest intensity, the hall of Valhalla comes into
view, with the gods and heroes assembled as described by Waltraute in Act I. #20a; #115 repeated
and developed; #59; #92; #54 as heard when Hagen called the Gibichungs to arms for the double
wedding in T.2.3; #20d bass; #100 with harps as in the finale of V.3.3; #178=#93; #174a; #59a
& #5)

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Allen Dunning's Numbered List of the Ring's Musical Motifs

# -- stands for specific music or a specific motif. It is always followed by either a

a, b, etc. -- Dr. Dunning has subdivided some motifs according to identifiable,

Vari -- A variant of a motif is sufficiently similar to the original motif to be identified

Frag -- A fragment of a musical motif, not necessarily identifiable as a lettered segment.

[[#1]] Primal Nature

[[#2]] Rhine Motion

[[#3]] Definitive Rhine River

[[#4]] Woglindes Lullaby

(#5 basis of #13, #15, #41, #45, and #161)

[[#6]] Alberich's lurching locomotion in his futile attempt to catch a Rhinedaughter

(#6s Motival links, if any, not yet ascertained)

[[#7]] Alberich's Futile Wooing

[[#8]] Wellgunde mockingly leads Alberich on

The egoistic cruelty and exclusivity of what is called love

[[#9]] Alberich's desperation to win a Rhinedaughter (#9 may be deleted!)

(#9s motival links if any - not yet ascertained)

One of Cookes Motions of Nature

[[#12]] The Rhinegold

[[#13]] The Rhinedaughters' cry: "Heiajaheia! Heiajaheia!

(#13 based on #5ab; basis of #41, #45b, and #161b)

[[#14]] The Rhinedaughters' exuberant swimming in celebration of the Rhinegold

(#14 based on #2, basis of #38 and #175)

[[#15]] The Rhinedaughters' cry: "Rhinegold! Rhinegold!"

(#15 based on #5a; basis of #45a, and #161a)

[[#17ab]] World Inheritance (The power of the human mind)

[[#18ab]] Renunciation [and Need] of Love

[[#20abcde]] Valhalla (the Gods heavenly abode)

[[#22]] Love's Longing for Fidelity

[[#23]] The domestic bliss of Valhalla

[[#29]] Freias Golden Apples of sorrowless youth eternal (immortality)

[[#30ab]] Godhead Lost

[[#31]] Freia's optimistic, grateful brother Froh

[[#33ab]] Loge (mans gift of artistic self-deception)

[[#34]] Loge's Flickering Flames

[[#37]] Loveless World

[[#40]] Love under threat from Alberich's curse on love

[[#41]] Nibelungs as Slaves of Labor

[[#42]] The Wondrous Tarnhelm (mans imagination)

[[#43]] The Tarnhelm's Transformations (Wagnerian Wonder)

[[#44]] First Motif of Mime's Scheming

[[#45ab]] The Coercive Power of the Ring

[[#46]] Alberich's ever-growing Nibelung Hoard of treasure

[[#47]] Alberich's Rebellion

(#@: B) Arrogance of Power Motif

[[#49]] Alberich transformed into a Toad through the Tarnhelm's magic

[[#52]] Alberich's curse of consciousness as foreknowledge of the end

[[#54]] Erda's prophecy of the fore-ordained Twilight of the Gods

[[#55]] Donner's cry: Heda! Heda, hedo!

[[#56]] Rainbow Bridge over the Rhine to Valhalla

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

[[#60]] Wotans Storm of Noth (anguish)

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

[[#62]] Siegmund the Waelsung scion of Wotan

[[#64ab]] Definitive Love Motif

[[#65]] Siegmund's Ill-Fortune

[[#67]] Hunding (i.e., Hounding), model citizen of established society

[[#68]] Hunding's Honor, Hearth and Home

[[#69]] The Innocent Maidens Weeping

[[#70]] Infinite Sorrow of the Waelsungs

[[#72]] Siegmund Destined to Win Wotan's Sword Nothung

[[#73]] Siegmund's Winterstorms Have Waned Aria

[[#74]] Waelsung's Love-Longing

[[#77]] The Valkyries as muses of inspiration and angels of death

Wagner's Ring Cycle Complete Leitmotifs Indexed by Alan Dunning

Wagner's Ring Cycle Complete Leitmotifs Indexed by Alan Dunning