Tag Archive | Siegfried

Wagner’s Ring – is it silly or socially significant?

 

Is the story behind Wagner’s Ring of the Niebelung merely silly or is there a deeper meaning?

Critics, ring fanatics and those who hate every note have been arguing this since the cycle was first produced in 1876. Even some of those who love the music dismiss the story.

Which to me rather misses the point.  Because though the music tells the story, without the story there is nothing to tell.  If you see what I mean.  When the giants stride the stage the music swells gigantically.  When the dwarf Mime is being particularly sneaky and malicious there is a certain snide pizzicato.  When the lovers Siegmund and Sieglinde, Brunnhilde and Siegfried sigh ecstatically and burn with passion the music sighs and burns with them.  And even those who don’t know another note of Wagner know what those boisterous Valkyries sound like.

Nobody doubts that The Ring is one of the most remarkable musical achievements in history.  But does it also have social significance?

I think it does.  And I try to show this, as humorously as possible, in my book Ringtones.

Here, the Gods are the social elite, not without a sense of responsibility for the worlds they rule but also arrogant, capricious and blind to the discontent of those below them.  Behind their magnificent façade they are as flawed and vulnerable as the Mortals and Dwarves they so despise.

The Giants, with their disconcerting habit of turning into reclusive dragons, are a looming threat to the power of the Gods but they are slow of wit and easily beguiled by baubles.  They have their counterpart in the real world; those who conquer and rule by sheer weight, mindlessly cruel as bad children, fearful, mistrustful, suspicious and yet full of shallow sentiment.  The Roman Emperor Nero appears to have been such a man and we have some modern equivalents too.  Giant are too thick and gullible to maintain power if challenged by those more cunning than they.

Such as the Dwarves, who would appear to represent True Evil in the Ring.  Alberich and his brother Mime forever plot and contrive, driven by greed and envy.  Yet their malice is fuelled by a cruel self-knowledge for they are pitiful creatures; ugly, misshapen, despised by all.  Small wonder they lust after what they cannot have, as Alberich lusts after the Rhinemaidens.  Small wonder he decides that if he can’t have love then gold is the only acceptable substitute.  Some have attributed anti-Semitism or outright racism to Wagner’s dwarves but I see  them more as representing those underclass types who, perceived as hideous by those more fortunately-born, scheme and agitate for a revolution not for any ideal of freeing oppressed humanity but to satisfy their unappeased hunger.  I always feel  a bit sorry for Alberich who is not without courage and a sense of beauty.  And Mime, for all his spitefulness and ulterior motive, is treated abominably by Siegfried.

The Gods are a motley crew.  There’s Wotan, striding around Heaven and Earth to no good purpose and with incomprehensible motives, thundering away like the bully he is.  Not much of a husband and a pretty awful father, too, putting Brunnhilde in a coma and sticking her on a cold rock for YEARS!  What he ever did to earn his title as Chief God is anyone’s guess.  His sidekick Loge, God of Fire, is a nasty bit of work and envious as any dwarf.  He is the chief manipulator throughout and represents, I think, those senior bureaucrats who are the true and sometimes insidious power behind politicians and leaders.  Loge is the Sir Humphrey Appleby of The Ring.

A more noble character is Fricka, Wotan’s much-abused wife, who just wants the Gods to behave nicely. Mind you she doesn’t seem to care much for Mortals; like any society hostess she thinks the hired help are okay as long as they do as they are told and know their place.  That her godly husband should stoop so low as to bonk the maid, so to speak, comes as a terrible shock.  Fricka represents those high-minded characters in our society whose own behaviour is exemplary and are capable of great kindness but who have little understanding of the darker urges that drive others.

Most of The Ring’s Mortals are bastards. Literally.  And Wotan’s bastards at that.  Which actually makes them slightly more than mortal, driven by the same feelings of love, passion, anger, revenge and so on as the Gods but without the power and privilege.  ALL the Valkyries are bastards which may account for their general boisterousness.  Their mother, Erde, is a right old misery which is not surprising as Wotan left her with all those illegitimate daughters to raise and she is also a sort of Minister for the Environment which as everyone knows is a lowly and thankless job in any government.  The doomed lovers Siegmund and Sieglinde are also Wotan’s progeny and seem like decent types though we never really get to know them well enough to find out.  Their mortal side appears to predominate and we can see them as those perennial favourites of fiction, couples who love not wisely but too well and end up paying the price for it.  And, in sad truth, they ARE a bit soppy! As well as incestuous.

Sieglinde’s husband Hunding is one of only three Mortals in the story and he is hardly a role model for the race.  Despite his (grim and gloomy) ancestral hall in the middle of a (grim and gloomy) forest he is a true bogan and you can see him at the footy on a Saturday, swilling beer and bashing his mug about the table and generally being one of the lads.  Then reeling through the streets looking to give a good kicking to some perceived racial inferior before heading home to give the wife a quick howsyourfather and a black eye.  A nasty bit of work, is Hunding. Domestic violence personified.

Now we come to the stars of this show, Brunnhilde and Siegfried.  One is Wotan’s daughter, the Head Valkyrie.  The other is his grandson.  Not that this fazes anyone; Wotan, like many an aristocratic father in the old days, is far more enraged by her disobedience than by her cohabiting with her nephew.   And you can’t blame her for that; he is her rescuer and the first man she has seen for simply yonks!  As well as being marvellously handsome and heroic.  Brunnhilde is my favourite Ring character because she is brave, kind, true-hearted  and feisty and the only one in the whole drama whose motives and behaviour are in any way exemplary.  I mean she has a rotten job when we first meet her, carrying corpses away from the battlefield and up to Valhalla but does she complain?  No, she yodels cheerfully away and when she falls from grace it is through compassion for another.  Brunnhilde represents all that is best in human society, and how too often that best is undervalued.

Siegfried, by contrast, is a shit!  A cad, a bounder, a louse of the first order.  Sure, he is brave and handsome but, in the words of the immortal Anna Russell, he is also stupid!  Thick as!  Also arrogant, insensitive…oh why go on, I’ve said it all in an article on Siegfried on this website (see the Wagner bit).  If this is the composer’s idea of a hero then it says a lot about Wagner if you ask me!  There are a lot of Siegfrieds around today.

So yes, to reiterate, I do think The Ring can be interpreted as social critique though whether that’s what the composer intended nobody is really sure.  Beneath the wond’rous music and the florid drama with its Gothic cast of characters lies the basic human conflict of good versus evil leading up to what both religious fanatics and the gloomier environmentalists (among which I count myself) see as the inevitable apocalypse.  You’ll see this more clearly if you read the articles and – better still – buy the book (on Amazon download, e-book only, cheap as chips, see link on this website).

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Siegfried – superhero or just plain dumb?

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Explaining The Ring Part 2 – Julie Lake, author of Ringtones, tells you how it SHOULD have been!

 

Siegfried, in Wagner’s Ring of the Nibelung, is a Hero.  With a capital ‘aitch’.  The composer even named an entire opera after him – the third in The Ring Cycle quartet.

Yet few today would regard him as being particularly heroic, even in an age when just about anybody who does anything even mildly remarkable is labelled a ‘hero’.  Or a ‘legend’. At least by the Bogan underclass.

Wagner, of course, was resurrecting a sort of mythical Teutonic ideal in which heroes, like those in ancient Greek myth, were what we would now regard more as champions.  We tend to think of a hero as someone who acts courageously, even if it means overcoming his own fear, in a good cause.  Usually against self-interest and on the behalf of others.  Siegfried is certainly brave but he acts only in his own interest at all times.  This is not just because he has a peculiar and loveless upbringing but because it’s not in his nature to be otherwise. And thus, as a product of unfortunate nature and inadequate nurture, Siegfried is not so much a hero but a blind force acting for good or ill according not to his own powers of reason but at the instigation of others.

In this sense Siegfried is a victim because his fate is sealed at birth by those – Wotan, Mime – who see him a means to their own ends.  But really, when he comes to man’s estate, so to speak, his most defining characteristic is a terrible innocence that wreaks havoc on all those unlucky enough to cross his path.  It’s hard to hate Siegfried – but it’s hard to love him, too.  Unless, of course, you are Brunnhilde.

For those who don’t know, Siegfried is the illegitimate son of an incestuous union between Siegmund (who really is heroic, albeit an adulterer) and Sieglinde, both children of Head God Wotan by a mortal.  As Siegfried’s father dies before he’s born and his mother dies giving birth to him, the Young Hero doesn’t have a very good start in life.  Worse, he’s then raised in isolation by the dwarf Mime who hates and envies gods, mortals and just about anyone else.  Thanks to the failed power play by his brother Alberich, Mime can’t go back to the dwarf homeland so is forced to live a secluded existence on earth.  He sees Siegfried as his ticket to power, wealth and freedom provided he can keep one step ahead of his hateful brother.  At the same time, he grows quite fond of the boy and indulges him without giving him quite the love or discipline or guidance a child requires.  Rather like many parents today.  Nor has Siegfried ever been allowed to play with any other children or have any human contact at all.  Small wonder he has grown up to be heedless of the feelings of others.  I don’t think it’s quite fair to call him “a total shit” as one Ring critic once did.  But he certainly comes across as a bit of a cad.

When we first meet Siegfried he is in the burgeoning pride of young manhood.  His only friends are the creatures of the surrounding forest, with whom, like so many lonely children, he had developed a remarkable rapport.  So remarkable that he appears to be able to converse with birds – or so those watching over him (Mime, and from a distance, Wotan and Alberich) come to believe.  He’s certainly not going to enjoy much intelligent conversation with Mime because the dwarf does nothing but grumble and whine.  He does raise Siegfried, though, and give him some rudimentary education and even teach him to speak well…I mean when you listen to Siegfried singing his heart out in the operas his German is of the highest order!  And so it is in Ringtones, too.  The Young Hero may dress like a rustic and look like a rustic but he speaks like a Graf.  Mime, a master smith, also tries to teach Siegfried his own trade but without much success.  So as the third Ring Cycle opera begins – and Part Three of Ringtones –  Mime is trying – not for the first time – to re-forge the sword Nothung, once wielded by Siegmund, shattered into pieces by Wotan’s spear, and handed to Mime (so he says) by the dying Sieglinde in trust for her son.  Siegfried very much wants a decent sword of his own – doesn’t every boy? – and is fed up because the swords Mime make him shatter as soon as he tries them out.  He needs something stronger and better…the sword that, did he but know it, he was born to wield.

A clue to Siegfried’s character can be found in his treatment of Mime.  Alright, WE know that the dwarf is a nasty, snivelling, minching, ugly little bundle of self-pity.  But he is, after all, Siegfried’s foster-father and the boy hasn’t any other father figure with whom to compare him.  Yet he treats him not only with contempt and rudeness but also with violence.  Says he hates him.  Says he’ll be out of there and off to see the world once he’s got a decent sword.  Harangues and harasses Mime mercilessly to put Nothung together.  There is certainly nothing heroic about the Young Hero at this first meeting; instead he reveals himself as a spoiled, petulant, ill-mannered, bullying lout.  Wagner, who after all wrote the libretto as well as the music and thereby defined Siegfried’s character, doesn’t seem to have seen him this way at all.  Which makes me rather wonder about Wagner’s own character.   When Siegfried berates and threatens Mime the dwarf accuses him of ingratitude and you can hardly blame him.  Yet still, illogically, we find ourselves sympathetic towards this rude boy.  We understand that Siegfried doesn’t really mean to be cruel – it’s just that he blurts out whatever he is thinking. He has never, you see, learned deceit – which is good.  But this means he also has never learned tact – which makes him seem insensitive.  Siegfried’s truth is going to prove just as terrible as his innocence.  Which goes to show that while honesty is undoubtedly a virtue, too much of it is a pain!

Siegfried finally manages to  re-forge the sword Nothung himself.  And after some conniving by both Mime and Wotan, who is wandering around Earth in disguise, he goes forth to do the job he’s been bred up to do – slay the giant Fafner.  Fafner, if you don’t know, was, together with his brother Fasolt, owed a great debt by Wotan and the gods, which was paid in part by a magic golden ring.  Wotan had obtained this ring by guile from the dwarf Alberich who in turn had forged it from gold he had stolen from three girls he found swimming about in the Rhine (yes, it’s complicated!).  The ring is said to confer unlimited power on the wearer.  It’s never quite clear whether Fafner fully realises this, being a giant and therefore a bit dim, but after killing his brother he goes and hides himself in a cave surrounded by a great forest, guarding the ring and a horde of gold.  Rumour has it he’s turned himself into a dragon, thanks to his possession of another powerful artefact, the Tarnhelm.  This may just be story he spread around to keep people away – dragons being scarier than giants.  Anyway, Siegfried goes off and kills him.  Despite the fact that Fafner treats him with surprising restraint and also warns him to beware of Mime who, his former affection now turned to hate, plans to murder his foster-son and grab the treasure.  Considering they have never met before and Siegfried has nothing personal against the erstwhile giant our purported hero seems surprisingly eager to make his first kill, and only mildly remorseful afterwards when he realised he has been manipulated into it.  He then kills Mime – his lifelong companion – with the same insouciance.  I mean, in bygone ages boys of the landowning class were raised to be warriors and it was not unusual for them to have made their first kill or three before they were out of their teens.  But Siegfried has been raised to be a smith, not a knight.  True, he’s a huntsman, but killing deer and rabbits for the pot is not the same as slaying giants who have never done you any personal harm or dwarves who have fed and clothed you.  I, for one, find Siegfried’s propensity to kill on command a little unsettling.  For a hero.

And what does he do next?  He lies down in a woodland glade and has a jolly good snooze, unfazed by the corpses nearby, and does a bit of communing with the birds.  One little bird in particular gives him some useful information (well, that’s the way Wagner has it; in Ringtones you’ll find a more plausible possibility) and because of it Siegfried now has a quest. He has to find a beautiful girl lying on a rock and free her from her bondage – first of course braving the ring of fire that surrounds her.  This, as we know, is Wotan’s Great Plan for getting the magic ring of power back to its rightful owners and thus averting the downfall of Valhalla.  Rather a convoluted plan and plagued with possible pitfalls.  But Siegfried:  young, strong, innocent of the world, single minded, undoubtedly brave but – let’s face it –  just a bit thick; is the ideal person to carry it out.  It’s hard to think of anyone else who would do it without asking a few pertinent questions.

So off Siegfried goes and does as he is supposed to do – mostly.  In the opera, he finds the Valkyrie rock and Brunnhilde in amazingly short time.  In Ringtones it takes a bit longer and he has an adventure along the way which at least serves to show him what a woman is.  And that there are other human beings in the world much like himself.  In both opera and book Siegfried encounters his grandfather Wotan, though of course he doesn’t know this.  All he sees is a scruffy old man who talks in riddles and seems to be trying to bar his way.  So, being Siegfried, he promptly beats the old man up!  No mercy for a poorly-armed wayfarer; no exchange of pleasantries; no respect for the aged.  Siegfried just shatters the old man’s spear and shoves him aside before leaping up to the Valkyrie rock.  An Arthurian knight – Galahad for example – might have offered a kind word and perhaps a sip of water to an old and apparently weak fellow-traveller.  But not your average Teutonic hero!  Even the giants and dwarves aren’t quite that ill-mannered!

In shattering Wotan’s spear Siegfried unwittingly diminishes the Head God’s power, at a significant moment in the story.  Now Wotan is even more dependent on his unwitting part-mortal descendants to carry out The Plan.  You’d have thought Wotan might have realised the danger when tackling his strapping grandson.  After all, Erda the Earth Witch had warned him.  But, as I’ve said before in this series of Ring articles, the CEO of Teutonic Gods Inc might be the boss but he’s not ALL-powerful.  He has to be careful.  His power, if used unwisely, can be overborne.  Not, in this important case, by someone else seeking power (such as Alberich) but by one who has not the least idea of it – or of his own strength.  It’s a lesson for all great men (and women) for all time – no power is so great it cannot be conquered if its purpose becomes no longer pure and true.  As was the case with Wotan.

The very second Siegfried sees Brunnhilde he falls in love with her.  Hardly surprising because, as the great comedian Anna Russell said, he’s never seen a woman before.  He’s young and randy, she’s been lying on a hard rock all by herself for simply aeons, so of course they get it on without more ado.  But there are other forces at work in the world and these will not be denied.  They are soon to prove stronger than passion, stronger than the great and pure love that Siegfried and Brunnhilde feel for each other.  In her case, it’s forever.  In his case…well, out of sight, out of mind with Siegfried.  He goes off into the world again to do some unspecified great deeds and, thanks to a bit of skulduggery by Hagen, son of Alberich,  meets Gutrune Gibich who is rich and beautiful and lives in a castle and is much younger than Brunnhilde.  She also has the advantage of not being his aunt!  Siegfried is flattered at being hailed as a hero by the Gibich clan, and is very full of himself, even though the only vaguely heroic deed he has achieved so far is to kill a weary, somnolent and ageing giant (or dragon, whatever).  This is in fact the ONLY heroic thing he ever does in the entire Ring story. Away from Brunnhilde’s restraining influence the Young Hero succumbs easily to Gutrune’s charms, thanks to a magic potion according to Wagner, though once again Ringtones comes up with a more plausible explanation. His lack of tact and sensitivity makes him a perfect patsy for cold-hearted Hagen’s scheming and he swaggers his way towards disaster, blind to any danger despite a pretty pointed warning from the Rhinemaidens (who are trying to get him to give them their ring back – if only he had listened!).  When Siegfried falls, a victim of treachery and vengeance, you feel he has brought it all upon himself and it is not so much his death that moves us but Brunnhilde’s terrible anguish.

She gives him a stirring valediction.  Wagnerians have traditionally seen this as a symbol of redemption through pure and selfless love but really, it comes across more as the outourings of a guilty conscience because she’s revenged his betrayal with one of her own and as this has helped kill him she’s now stricken with remorse.  Because unlike shallow Siegfried she’s capable of deep, strong feeling.  Unfortunately these strong feelings lead her to sacrifice herself and just about everyone else in The Ring who hasn’t died already.  And, as with just about everyone else in The Ring, she does this without realising the consequences of her action.  That’s The Ring story in a nutshell, really.  Too many people acting on impulse without bothering to think how it will turn out.  Sound familiar?

And of course nobody exemplifies this better than poor old hapless Siegfried.  From the moment he leaves the comparative safety of Mime’s cave he just blunders about doing what he likes without a single thought beyond self-gratification.  That’s not my idea of heroic.  That’s just plain dumb!  A total failure of imagination.!  A real hero thinks before he (or she) acts.  Weighs up the odds.  And then still does what a man (or a woman)’s gotta do!

Any bold fool can slay a dragon.  But I can’t help thinking that a real hero would try and tame it.

Can The Ring be taken seriously?

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How seriously should we take the Ring of the Nibelung?

Wagner, of course, meant us to take it very seriously indeed, at least musically.  And he was right, because it’s a work of staggering genius.

Whether he meant us to take the story seriously is another matter.  He used the ancient Norse legends, or at least his version of them, because all those gods and giants and dwarves and other strange beings offered such a rich mine of fantasy from which creative musical treasure could be brought forth.  Humankind is prosaic by comparison and offers less scope for the imagination.  That the legends were just an excuse for great music is borne out by the fact that the story, as told by Wagner, doesn’t make much sense.  The ideas are all there but the plot is full of holes that even a giant could get through!  The storyline and even the motivations often defy logic.  And for this, The Ring has long been derided, even by those who love the music.

Inevitably, therefore, we look for allegory.  And it’s there to be found, if you look.  This is why so many modern producers of The Ring operas, and their set designers, have tried to put their own interpretation on The Ring story, even though the libretto doesn’t make this feasible.  Thus we have  had valkyries on motorbikes ans Wotans in evening dress and Siegfrieds in tee-shirts and dwarves dressed to look like Nazi stormtroopers.  In my opinion, The Ring only works if the characters are dressed in the way illustrators have traditionally shown us that such mythical characters would have dressed – horned helmets, chainmail, swords and all the rest.  I’ve never yet seen a credible horse on stage, for Brunnhilde to ride into the flames, let alone a credible dragon.  But my favourite productions have stuck close to Wagner’s own ideal in terms of scenery and costume – he knew what a giant or a dwarf should look like, and what a valkyrie should wear on her head!

When I wrote Ringtones, the allegorical nature of the story was very much on my mind.  Thus I looked at it through modern eyes and gave the characters modern speech patterns, even though setting it very firmly in the mythical past – where it belongs.  Despite the fact that the protagonists themselves are mythical in character – dwarves and giants and so on – they all have very human traits and speak in human speech in the opera. And in the book.  They can all understand each other without difficulty.  And so it is easy to see them as representative rather than real.  Wotan, for example, is quite familiar to us.  He reminds me a bit of those larger-than-life media moghuls and entrepreneurs and CEOs of  international corporations whose appetites and passions seem larger than those of the rest of us and who make world-changing decisions while being at the same time flawed and  sometimes uncharacteristically vulnerable to the bad (perhaps malicious) counsel of others.

For The Ring is a story about power.  Wotan has it and wants to hang on to it.  Others covet it and try to take it.  Throughout the story love and all finer things are sacrificed  for power – until the very end when love and self-sacrifice bring about redemption and the downfall of those to whom power is everything.  It is interesting to note that this is only accomplished through total annihilation.

The Ring, of course, is the supreme symbol of all that power.  Though there are other powerful symbols in the story – Wotan’s rune-laden spear in which his godly power resides, the sword Nothung borne (briefly) by Siegmund and more effectively by Siegfried, the Taarnhelm which has the power to transform or transport its wearer, Donner’s hammer, Loge’s fire.  And then there is water, the most powerful of the elements in the story, for in the end it is the waters of the Rhine that put out the fire that consumes Valhalla and much else besides.

The gods in this story are the social elite who set the standards which other beings must try to match.  They are blessed with privilege but cursed with responsibility which, increasingly, they don’t want to exercise.  They stand for every society in history where an upper class finally becomes threatened by revolution from those below.

Those below, in The Ring story, being the dwarves who delve and labour and covet wealth because they have never, it’s presumed, had the chance to value other less material things.  There is a certain racial element to this – the dwarves are always black and small and ugly and hairy and misshapen – alien in the eyes of gods and mortals.  The giants, by contrast, are feared rather than despised.  They are freaks but also useful artisans, respected for their strength but not liked and not befriended by any except their own kind.  They’re a bit thick, too, and without humour.  If I was casting them in a modern context I’d probably make them Russian, of the communist kind!

Mortals are the rest of us – the middle class.  Sharing some traits with gods and some with dwarves.  There are other beings in the Nine Realms of Norse legend – elves and suchlike – but Wagner didn’t bother with them and neither did I.  Though the sirenic Rhinemaidens have a nymphlike charm and Erda and her Norn daughters are eldritch as well as dreary.

In any age, at any time, social forces are fighting to gain power or retain it, just like in The Ring.  And sometimes drastic action is needed to bring about resolution – something Wotan knows only too well.  And in this eternal battle we are all caught up; struggling to survive as best we can and using whatever means are available to us.  Some of us will employ trickery, some will behave honourably, others will find courage and many will succumb to cowardice and fear.  And murder.

Thus I see The Ring as an allegory for our time and every time.  The Wotans will sacrifice others and act with exigence to hang on to power and hold things together.  The Frikkas will try to impose their idea of morality on the rest of us.  The Alberichs will try to assuage their ugliness and unlovableness by using any means to attain wealth and power.  The Loges will  conceal their malice and fit their shape to the circumstances until their ends are achieved.  The Siegfrieds will wield their swords with all the aplomb of great sportsmen (think Shane Warne) without ever understanding the harm they do or even what it’s all about.  The Fafners will retreat from the world’s rejection and their own misanthropy by retreating into dark caverns of the mind where none can reach them.  The Erdas will keep up a shrill cry of warning about all the ills that beset the world – or might beset it in the future but, like the boy who cried wolf, nobody will heed them.  The Brunnhildes will stride valiantly through life with loving and true hearts, trying to do good even at great cost to themselves.

Ultimately, what the Ring tells us, in an age of materialism, selfish hedonism and vulgarity, is that if selfless love doesn’t vanquish greed and the lust for power then the end of civilisation as we know it is only an Armageddon away.

 

 

A new look at The Ring

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Wotan, Head God and CEO of Teutonic Gods Inc., has a problem.  He likes to rule the world – well, several worlds actually – and enjoys wielding supreme power.  On the other hand he’s an easy-going sort of chap who to indulges himself with plenty of wine, women and song, much to the irritation of his formidable wife Frikka.  For several aeons he’s managed to successfully balance both power and pleasure but now it’s all going horribly wrong and he stands to lose everything…

This, basically, is the story behind Richard Wagner’s huge work The Ring of the Nibelung; four operas that last almost four hours each.  A formidable endurance test for even the most avid opera-lover, let alone the cast of performers.  ‘Ring’ fanatics abound – as do those who love music but don’t care for Wagner’s type of sung drama which offers splendid orchestration and heroic vocalisation but not too many hit tunes.  This is why The Ride of the Valkyries is the only tune that non-Wagnerians can readily hum!

I am a ring tragic.  One of that select and undoubtedly peculiar band who can listen to, and watch, The Ring operas over and over again.  Once you get hooked, it’s an addiction for which there is no cure except more of the same.

But even I have to admit that The Ring has a very silly story.  Okay, it takes a suspension of everyday reality to believe in gods and giants and dwarves and other weirdos but then most of us managed to do that very happily with Tolkien (or at least with Peter Jackson).  And today there are quite a lot of people out there (mostly under the age of 30, admittedly) who are enthusiastic about vampires.  The problem with Wagner’s version of the old Norse legends, though, is that the storyline is full of inconsistencies and the plot (for want of a better word) full of holes.  And yet he renders it all so seriously!

So I decided to rewrite it.  Using the basic story as Wagner saw it, but with the gaps filled in and the silly bits made sane and the unfathomable explained.  And a touch of satire to make it more digestible. You’ll still meet Wotan and his gang of neurotic gods and goddesses,  the tragic lovers Siegmund and Sieglinde, their gormless (but very brave) son Siegfried the Hero and the equally brave Brunnhilde who is Wotan’s favourite daughter and head of the Valkyries.  The Giants Fasolt and Fafner still stomp through these pages while the Dwarves Alberich and Mime scuttle about their bad business.  All the lesser Mortals are here too – Sieglinde’s husband Horrible Hunding, the even more horrible Hagen who is half-dwarf, the Gibich siblings Gunther and Gutrune who find themselves unwittingly caught up in affairs way beyond their understanding.

Ringtones is written to amuse – it’s ‘funtasy’ rather than fantasy, in the manner of Terry Pratchett’s Discworld novels. Yet there is a serious undertone at work for the story of The Ring is essentially a story of love versus the lust for power.  When greed and violence, lust and jealousy, evil and plain old stupidity threaten to take over the world then only extreme self-sacrifice can redeem it.  Over the next few days I’ll indulge myself in writing a series of blog articles on The Ring to augment the story for those who are already addicted and to elucidate it for those who know nothing about it.

In the meantime, you can buy the book or take a sneak preview by going to

http://www.amazon.com/Ringtones-Julie-Lake-ebook/dp/B00HNVHLBA

 

Have fun!