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The Ring of the Nibelung
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[[#23]] The domestic bliss of Valhalla

Fricka’s 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)

[See #22 for #23’s dramatic context]


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[[#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)

 

“Wotan: ... Freia the good I'll not give up: it never seriously entered my thoughts.

 

Fricka: (peering offstage, tense with anxiety) Then shield her now: in defenseless fear she comes running hither for help!

 

Freia: ([[ #24 ]]; [[ #25 ]]: entering, as if in headlong flight) Help me, sister! Help me, kinsman! Fasolt has threatened from yonder fell, saying he'll come for Freia the fair!"


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[[#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 man’s desire (Fasolt)

(#25 based on Embryo from the vocal line of Alberich’s 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)

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