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The Ring of the Nibelung
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was – I wanted to call out his name – is Woeful [“Wehwalt”] really what you are called?

 

Siegmund: Do not call me so now that you love me: (#75?) I'm lord of sublimest delights!

 

Sieglinde: And happy, you cannot call yourself Friedmund [“Peaceful”?]

 

Siegmund: Name me yourself as you’d like me called: (#75) I’ll take my name from you.


Sieglinde: But Wolfe, you said, was your father?


Siegmund: A wolf to fearful foxes! (#20a?) But he whose eyes once flashed as proudly as yours, fair woman, flashes now – Waelse was his name.


Sieglinde: (beside herself) If Waelse’s your father and if you’re a Waelsung; if he thrust the sword in the tree for you – then let me name you as I love you: Siegmund - thus do I call you!”

 

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

Erda’s daughters, the Valkyries (including Bruennhilde), inspire heroes to martyrdom in unwitting service to the illusory, religious belief in man’s 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)

Prelude: (#57; #40; [[ #77 ]]: A wild and rocky mountain landscape. At the back of the stage a gorge runs from below to a high ridge of rocks, from which the ground slopes down again towards the front of the stage. Wotan, armed for battle, with his spear; before him Bruennhilde, as a Valkyrie [“Walkuere”], likewise fully armed. (…)

 

Wotan: A furious fight (#21 or #60 fragment) will soon flare up: (#21 or #60?) Let Bruennhilde fly to the fray; (#21 or #60?) for the Waelsung let her choose victory! (#21 or #60?) Hunding may choose to whom he belongs: he’s no use to me in Valhalla. (#21 or #60?) (…)

 

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