/lit/ - Literature

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>23438192
Is tomboy really an apt description? I get that she was a warrior but after she becomes mortal she stops being a warrior. And big tits have never belonged to classical images of beauty.

>>23412542
https://www.youtube.com/watch?v=fG9o2xKIt8Q

Brünhilde, standing to Wotan in a daughter-anima relationship, is clearly revealed here as the symbolical or spiritual mother of Siegfried, thus confirming the psychological rule that the first carrier of the anima-image is the mother. Siegfried says:

Then death took not my mother?
Was the loved one but sleeping?

The mother-imago, at first identical with the anima, represents the feminine aspect of the hero himself. Brünhilde tells him as much in the words:

Thine own self am I
In the bliss of thy love!

As the anima she is the mother-sister-wife, and as the preexistent archetype she has always loved him:

O Siegfried, Siegfried!
Conquering light!
Always I have loved thee,
For I alone divined
Wotan’s hidden thought-
The thought which I never
Dared to name,
Which I dared not think,
Which I only felt,
For which I fought,
Struggled and strove,
For which I defied
Him who conceived it.…
Canst thou not guess?
It was naught but my love for thee!

The anima-image brings with it still other aspects of the mother-imago, amongst others those of water and submersion:

A glorious flood
Before me rolls.
With all my senses
I only see
Its buoyant, gladdening billows.…
I long to plunge
My burning heat
In the water’s balm;
Just as I am
To sink in the flood.
O that its billows
Might drown me in bliss!

The water represents the maternal depths and the place of rebirth; in short, the unconscious in its positive and negative aspects.

>>23384845
Der Ring des Nibelungen

https://www.youtube.com/watch?v=CoYkK6T-lGk

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>23382572
Wagner's dramas are the greatest portrayal of the divine feminine in all art, and in his prose writings he comes the closest to explicating its significance in philosophy. See particularly Wagner's unfinished essay, On the Womanly in the Human Race.

>A woman who really loves, who sets her virtue in her pride, her pride, however, in her sacrifice; that sacrifice whereby she surrenders, not one portion of her being, but her whole being in the amplest fulness of its faculty—when she conceives. But in joy and gladness to bear the thing conceived, this is the deed of Woman,—and to work deeds the woman only needs to be entirely what she is, but in no way to will something: for she can will but one thing—to be a woman! To man, therefore, woman is the ever clear and cognisable measure of natural infallibility (Untrüglichkeit), for she is at her perfectest when she never quits the sphere of beautiful Instinctiveness (Unwillkürlichkeit), to which she is banned by that which alone can bless her being,—by the Necessity of Love.

>>23227695
Wagner's Ring Cycle.

https://www.youtube.com/watch?v=CoYkK6T-lGk

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>23167913
Der Ring des Nibelungen.

https://www.youtube.com/watch?v=ZZKw9Br5opc

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>23075985
Wagner revealed the mysteries of love with infinitely more profundity and acumen than this Moor, and a hundred years earlier too! The difference between their popularity on this site is that between the herd and the genuinely esoteric.

>There is no work of philosophy that delves so deeply into the paradoxes of erotic love as Tristan and Isolde
- Roger Scruton

>>22715895
Siegfried. The style of the poetry and the philosophical themes influenced Nietzsche's Zarathustra greatly, a philosophy of Ja-sagen can be read between both.

https://www.youtube.com/watch?v=ZZKw9Br5opc

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>22602652
Most of Wagner, but especially Siegfried. It is is the moment of hope in the Ring, after the corruption of the first half, and before the tragedy of Gotterdammerung.

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

https://www.youtube.com/watch?v=ZZKw9Br5opc

>>22514509
Start with Wagner, then move onto Nietzsche. Nietzsche was reacting against Wagner's late turn to Christianity. Compare Wagner's statements about Siegfried:

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

With statements from the period in which he was writing Parsifal:

>On the other hand, he is increasingly attracted to Gobineau’s idea, and when I say, “If we disregard time and space, there is surely no such thing as decay,” R. replies, “The thought I am occupied with is whether morality should not be preserved as being that to which everything tends—survival is then a matter of complete indifference.”

>He lies down in bed, we have breakfast, and he is soon so much recovered that he can embark on a detailed discussion of the passage in Kant concerning “seeds.” “I can very easily imagine how a Laplander, for instance, evolves out of a Norman, however farfetched it sounds, and this idea opens many doors. The seeds of the widest variety are in Nature itself—for example, man’s carnivorous tendencies are indicated by his canine teeth, and it all depends on the way things evolve. In Germany everything is in the process of dying out—for me a dismal realization, since I am addressing myself to the still-existent seeds. But one thing is certain: races are done for, and all that can now make an impact is—as I have ventured to express it—the blood of Christ.”

Nietzsche was following the earlier Wagner and rejecting the later.

>>22193288
The Ring of the Nibelung and Thus Spoke Zarathustra.

https://www.youtube.com/watch?v=ZZKw9Br5opc

>>22071446
It's not Norse paganism (while still massively influenced by Scandinavia) and isn't a ritually realisable mythology but Wagner's Der Ring des Nibelungen is the greatest artistic product of the revival of Germanic paganism.

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

https://www.youtube.com/watch?v=ZZKw9Br5opc

And Parsifal, described by Roger Scruton as 'paganly Christian', is an adaptation of Arthurian legends. While the culture, practice and rituals of paganism are dead, Wagner saw the potential in the Grail myth of reanimating its pagan antecedent in a still living religion. So the eucharist, something whose meaning has not been lost to us and we can all partake of, becomes a veritable pagan ritual, and the Grail a living relic, of a power and import only things familiar to us could provide.

https://www.youtube.com/watch?v=FbGSjKRM_os

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

https://www.youtube.com/watch?v=ZZKw9Br5opc

https://www.youtube.com/watch?v=ZZKw9Br5opc

>He then plays Siegfried’s awakening of Brünnhilde, is pleased with the character of this work, its trueness to Nature: “Like two animals,” he says of Br. and Sieg. “Here there is no doubt, no sin,” he continues, and in his Wotan he recognizes the true god of the Aryans.

>But in the evening the 3rd act of Siegfried, very well played by Herr Rubinstein, pleases both him and us. “That is Gobineau-music,” R. says as he comes in, “that is race. Where else will you find two beings who burst into rejoicing when merely looking at each other? The whole world exists just to ensure that two such beings look at each other!” “Here is just forest and rocks and water and nothing rotten in it.” “Here is a couple who rejoice in their happiness, immerse themselves in the happiness of being together—how different from Tristan!”

>>21748280
The Ring and Zarathustra are pretty much brother works. The whole superman philosophy, the fateful treatment of modernity, the mythological sensibility, the end of the old world order, the rejection of Christian morality, and of course the enormous similarities in the language used. The Untergang section of the Vorrede is practically taken straight from scenes 1 and 2 of act 3 of Siegfried.

>>20979522
No, Siegfried is. Since it inspired his philosophy of the Ubermensch as well as similar action-based ideals of modernism (see Stephen Dedalus). The whole drama bleeds agon. There are never more than two characters on stage at the same time and there is a constant play of antipodes through this. The wanderer challenges Mime to a game of wits, Siegfried refashions his father's sword which the mere techne of Mime could not do, both the Wanderer and Alberich vye for the Ring, Siegfried duels the Wanderer and eventually Siegfried finds the productive opposite in his first meeting with a woman, Brunnhilde.

Beyond Good and Evil:
>Perhaps a subtler comparison will reveal that, to the credit of Richard Wagner's German nature, he fashioned stronger, more daring, more severe and more elevated things than a nineteenth‑century Frenchman could have done — thanks to the circumstance that we Germans are still closer to barbarism than the French —; perhaps the most remarkable thing Wagner created is even inaccessible, inimitable to the entire, so late Latin race for ever and not only for the present: the figure of Siegfried, that very free human being who may indeed be much too free, too hard, too cheerful, too healthy, too anti‑Catholic for the taste of peoples of an ancient, mellow culture. He may even have been a sin against romanticism, this anti‑Romantic Siegfried: well, Wagner amply atoned for this sin in his old, melancholy days when — anticipating a taste which has since become political — he began, with the religious vehemence characteristic of him, if not to walk at any rate to preach the road to Rome.