Richard Wagner
DAS RHEINGOLD

DRAMATIC ORIGIN OF WOTAN

We can now see how a single drama in which Wotan does not appear, and of which Siegfried is the hero, expanded itself into a great fourfold drama of which Wotan is the hero. You cannot dramatize a reaction by personifying the reacting force only, any more than Archimedes could lift the world without a fulcrum for his lever. You must also personify the established power against which the new force is reacting; and in the conflict between them you get your drama, conflict being the essential ingredient in all drama. Siegfried, as the hero of Die Gotterdammerung, is only the primo tenore robusto of an opera book, deferring his death, after he has been stabbed in the last act, to sing rapturous love strains to the heroine exactly like Edgardo in Donizetti's Lucia. In order to make him intelligible in the wider significance which his joyous, fearless, conscienceless heroism soon assumed in Wagner's imagination, it was necessary to provide him with a much vaster dramatic antagonist than the operatic villain Hagen.

Hence Wagner had to create Wotan as the anvil for Siegfried's hammer; and since there was no room for Wotan in the original opera book, Wagner had to work back to a preliminary drama reaching primarily to the very beginnings of human society. And since, on this world-embracing scale, it was clear that Siegfried must come into conflict with many baser and stupider forces than those lofty ones of supernatural religion and political constitutionalism typified by Wotan and his wife Fricka, these minor antagonists had to be dramatized also in the persons of Alberic, Mime, Fafnir, Loki, and the rest. None of these appear in Night Falls On The Gods save Alberic, whose weird dream-colloquy with Hagen, effective as it is, is as purely theatrical as the scene of the Ghost in Hamlet, or the statue in Don Giovanni. Cut the conference of the Norns and the visit of Valtrauta to Brynhild out of Night Falls On The Gods, and the drama remains coherent and complete without them. Retain them, and the play becomes connected by conversational references with the three music dramas; but the connection establishes no philosophic coherence, no real identity between the operatic Brynhild of the Gibichung episode (presently to be related) and the daughter of Wotan and the First Mother.