aim in The Vikings was purely theatrical, and not, as in his later dramas, also philosophically symbolic. Wagner’s aim in Siegfried’s Death was equally theatrical, and not, as it afterwards became in the dramas of which Siegfried’s antagonist Wotan is the hero, likewise philosophically symbolic. The two master-dramatists therefore produce practically the same version of Brynhild. Thus on the second evening of The Ring we see Brynhild in the character of the truth-divining instinct in religion, cast into an enchanted slumber and surrounded by the fires of hell lest she should overthrow a Church corrupted by its alliance with government. On the fourth evening, we find her swearing a malicious lie to gratify her personal jealousy, and then plotting a treacherous murder with a fool and a scoundrel. In the original draft of Siegfried’s Death, the incongruity is carried still further by the conclusion, at which the dead Brynhild, restored to her godhead by Wotan, and again a Valkyrie, carries the slain Siegfried to Valhalla to live there happily ever after with its pious heroes.
As to Siegfried himself, he talks of women, both in this second act and the next, with the air of a man of the world. “Their tantrums,” he says, “are soon over.” Such speeches do not belong to the novice of the preceding drama, but to the original Siegfried’s Tod, with its leading characters sketched on the ordinary romantic lines from the old Sagas, and not yet reminted as the original creations of Wagner’s genius whose acquaintance we have made on the two previous evenings. The very title “Siegfried’s Death” survives as a strong theatrical point in the following passage. Gunther, in his rage and despair, cries, “Save me, Hagen: save my honor and thy mother’s who bore us both.” “Nothing can save thee,” replies Hagen: “neither brain nor hand, but SIEGFRIED’S DEATH.” And Gunther echoes with a shudder, “SIEGFRIED’S DEATH!”
A WAGNERIAN NEWSPAPER CONTROVERSY
The devotion which Wagner’s work inspires has been illustrated lately in a public correspondence on this very point. A writer in The Daily Telegraph having commented on the falsehood uttered by Brynhild in accusing Siegfried of having betrayed Gunther with her, a correspondence in defence of the beloved heroine was opened in The Daily Chronicle. The imputation of falsehood to Brynhild was strongly resented and combated, in spite of the unanswerable evidence of the text. It was contended that Brynhild’s statement must be taken as establishing the fact that she actually was ravished by somebody whom she believed to be Siegfried, and that since this somebody cannot have been Siegfried, he being as incapable of treachery to Gunther as she of falsehood, it must have been Gunther himself after a second exchange of personalities not mentioned in the text. The reply to this — if so obviously desperate a hypothesis needs a reply — is that the text is perfectly explicit as to Siegfried, disguised as Gunther, passing the night with Brynhild with Nothung dividing them, and in the morning bringing her down the mountain THROUGH THE FIRE (an impassable obstacle to Gunther) and there transporting himself in a single breath, by the Tarnhelm’s magic, back to the hall of the Gibichungs, leaving the real Gunther to bring Brynhild down the river after him. One controversialist actually pleaded for the expedition occupying two nights, on the second of which the alleged outrage might have taken place. But the time is accounted for to the last minute: it all takes place during the single night watch of Hagen. There is no possible way out of the plain fact that Brynhild’s accusation is to her own knowledge false; and the impossible ways just cited are only interesting as examples of the fanatical worship which Wagner and his creations have been able to inspire in minds of exceptional power and culture.
More plausible was the line taken by those who admitted the falsehood. Their contention was that when Wotan deprived Brynhild of her Godhead, he also deprived her of her former high moral attributes; so that Siegfried’s kiss awakened an ordinary mortal jealous woman. But a goddess can become mortal and jealous without plunging at once into perjury and murder. Besides, this explanation involves the sacrifice of the whole significance of the allegory, and the reduction of The Ring to the plane of a child’s conception of The Sleeping Beauty. Whoever does not understand that, in terms of The Ring philosophy, a change from godhead to humanity is a step higher and not a degradation, misses the whole point of The Ring. It is precisely because the truthfulness of Brynhild is proof against Wotan’s spells that he has to contrive the fire palisade with Loki, to protect the fictions and conventions of Valhalla against her.
The only tolerable view is the one supported by the known history of The Ring, and also, for musicians of sufficiently fine judgment, by the evidence of the scores; of which more anon. As a matter of fact Wagner began, as I have said, with Siegfried’s Death. Then, wanting to develop the idea of Siegfried as neo-Protestant, he went on to The Young Siegfried. As a Protestant cannot be dramatically projected without a pontifical antagonist. The Young Siegfried led to The Valkyries, and that again to its preface The Rhine Gold (the preface is always written after the book is finished). Finally, of course, the whole was revised. The revision, if carried out strictly, would have involved the cutting out of Siegfried’s Death, now become inconsistent and superfluous; and that would have involved, in turn, the facing of the fact that The Ring was no longer a Niblung epic, and really demanded modern costumes, tall hats for Tarnhelms, factories for Nibelheims, villas for Valhallas, and so on — in short, a complete confession of the extent to which the old Niblung epic had become the merest pretext and name directory in the course of Wagner’s travail. But, as Wagner’s most eminent English interpreter once put it to me at Bayreuth between the acts of Night Falls On The Gods, the master wanted to “Lohengrinize” again after his long abstention from opera; and Siegfried’s Death (first sketched in 1848, the year before the rising in Dresden and the subsequent events which so deepened Wagner’s sense of life and the seriousness of art) gave him exactly the libretto he required for that outbreak of the old operatic Adam in him. So he changed it into Die Gotterdammerung, retaining the traditional plot of murder and jealousy, and with it, necessarily, his original second act, in spite of the incongruity of its Siegfried and Brynhild with the Siegfried and Brynhild of the allegory. As to the legendary matter about the world-ash and the destruction of Valhalla by Loki, it fitted in well enough; for though, allegorically, the blow by which Siegfried breaks the god’s spear is the end of Wotan and of Valhalla, those who do not see the allegory, and take the story literally, like children, are sure to ask what becomes of Wotan after Siegfried gets past him up the mountain; and to this question the old tale told in Night Falls On The Gods is as good an answer as another. The very senselessness of the scenes of the Norns and of Valtrauta in relation to the three foregoing dramas, gives them a highly effective air of mystery; and no one ventures to challenge their consequentiality, because we are all more apt to pretend to understand great works of art than to confess that the meaning (if any) has escaped us. Valtrauta, however, betrays her irrelevance by explaining that the gods can be saved by the restoration of the ring to the Rhine maidens. This, considered as part of the previous allegory, is nonsense; so that even this scene, which has a more plausible air of organic connection with The Valkyries than any other in Night Falls On The Gods, is as clearly part of a different and earlier conception as the episode which concludes it, in which Siegfried actually robs Brynhild of her ring, though he has no recollection of having given it to her. Night Falls On The Gods, in fact, was not even revised into any real coherence with the world-poem which sprang from it; and that is the authentic solution of all the controversies which have arisen over it.
The Third Act
The hunting party comes off duly. Siegfried strays from it and meets the Rhine maidens, who almost succeed in coaxing the ring from him. He pretends to be afraid of his wife; and they chaff him as to her beating him and so forth; but when they add that the ring is accursed and will bring death upon him, he discloses to them, as unconsciously as Julius Caesar disclosed it long ago, that secret of heroism, never to let your life be shaped by fear of its end. [*] So he keeps the ring; and they leave him to his fate. The hunting party now finds him; and they all sit down together to make a meal by the river side, Siegfried telling them meanwhile
