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Wagner's Ring and its symbols; the music and the myth.

Author: Robert Donington
Publisher: London, Faber and Faber [1974]
Edition/Format:   Print book : English : [3d ed.]View all editions and formats
Summary:
"Appendix of music examples": p. 275-306. Bibliography: p. 316-328.
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Named Person: Richard Wagner; Richard Wagner; Richard Wagner
Document Type: Book
All Authors / Contributors: Robert Donington
ISBN: 0571048250 9780571048250 0571048188 9780571048182
OCLC Number: 1044448
Notes: "Appendix of music examples": pages 275-306.
Description: 342 pages music 23 cm
Contents: Family trees in the 'Ring' --
Myth & music --
Rhinegold --
The Valkyrie --
Siegfried --
Götterdämmerung. Myth and music. Symbols at work ; Symbols common to our species ; Wagner's attitude to his symbols ; Symbols as archetypal images ; Symbols regarded as functions of psychic consciousness ; Symbols as inner experience ; The musical symbols ; The dramatic symbols ; Wagner's characters as symbols --
Prelude to 'Rhinegold'. The beginning of the world as a symbol for our own beginning ; The state of nature and the fall from innocence ; Accepting the opposites or escaping them in fantasy ; The return to nature in rebirth symbolism --
'Rhinegold', scene I. Alberich and the Rhinemaidens ; The Rhinemaidens and their gold ; Money seen as the root of all evil ; The fire under the water ; Accidentally on purpose? ; The renunciation of love ; A Promethean theft? --
'Rhinegold', scene II. Wotan as an image of the self ; Wotan as a sky-god and a saviour god ; Wotan as psychic consciousness ; Wotan as ego consciousness ; Wotan as father-image ; Fricka as part of Wotan's inner femininity ; Other representatives of the eternal feminine ; The god's dilemma ; Loge the trickster and his tricky remedy --
'Rhinegold', scene III. The paradox of the situation brought out in the music ; The underworld of Nibelheim ; The ring as a symbol for the self ; Tarnhelm as a symbol of unconscious fantasy ; The tricking of Alberich --
'Rhinegold', scene IV. Wotan acts the ruffian ; Alberich curses for the second time ; Alberich's curse : sheet disaster or blessing in disguise? ; Erda prophesies to Wotan and Freia is ransomed ; The curse gets to work : Fafner murders Fasolt ; Valhalla the impregnable fortress at last --
'The Valkyrie', act I. Incest hpysical and mythological ; Incest a danger in the flesh and in fantasy ; Transgression or heroic accomplishment? ; Mythological incest as a ritual marriage ; Siegmund and Sieglinde in their hour of destiny ; Sieglinde and Hunding hear Siegmund begin his story ; Siegmund tells us of his unquiet and lonely life ; Siegmund's story shows Hunding to be his enemy ; Why Wotan is entangled in his bargains ; The sword in the tree ; The sword itself ; the long winter ends with the coming of love --
'The Valkyrie', act II. Brynhilde as Valkyrie and more than Valkyrie ; Wotan and Fricka ; The sacrificial significance of Siegmund's death ; Wotan confindes in Brynhilde ; The end of Siegmund ; The consequences of Siegmund's death --
'The Valkyrie', act III. The Valkyrie sisterhood and the rescue of Sieglinde ; Wotan's estrangement from Brynhilde ; The partial reconciliation of Wotan and Brynhilde ; The parting of Wotan and Brynhilde --
'Siegfried', act I. Mime and Siegfried ; Mime and Wotan ; The forging of nothing --
'Siegfried', act II. Alberich and Wotan ; Siegfried and the forest murmers ; Siegfried and Fafner ; Alberich and Mime ; Siegfried's foster-father ; The birds guide Siegfried toward Brynhilde --
'Siegfried', act III. Wotan and Erda meet for the last time ; Wotan and Siegfried ; Siegfried and Brynhilde ; To thine own self be true --
'Götterdämmerung', act I. Life's two faces : the light and the dark ; The three aged Norns ; The journey to the Rhine ; The Gibichungs ; Siegfried and Gutrune ; Siegfried and the magic potion ; The plot against Brynhilde --
'Götterdämmerung', act II. The personal shadow and the shadow archetype ; The quarrel between Brynhilde and Siegfried ; The alliance of Brynhilde with Hagen ; The terrible mother as invisible partner in the plot ; The plot against Siegfried --
'Götterdämmerung', act III, part 1. Siegfried accepts his destiny ; Siegfried's narrative and self-discovery ; Siegfried's death --
'Götterdämmerung', act III, part 2. The dark night of the soul ; The eternal masculine and the eternal feminine ; Brynhilde's hour ; The return to innocence in a maturer state ; The voluntary sacrifice of outworn values ; The baptism by fire and water ; The sacred marriage as the union of opposites ; Redemption as transformation in the psyche.

Abstract:

"Appendix of music examples": p. 275-306. Bibliography: p. 316-328.

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