It may be noted in passing that 'Die
Walkuere' is the latest of Wagner's works in which the traces of his
earlier manner are still perceptible. For the most part, as in all his
later works, the score is one vast many-coloured web of guiding themes,
'a mighty maze, but not without a plan!' Here and there, however, occur
passages, such as the Spring Song in the first act and the solemn melody
which pervades Bruennhilde's interview with Siegmund in the second,
which, beautiful in themselves as they are, seem reminiscent of earlier
and simpler days, and scarcely harmonise with the colour scheme of the
rest of the work.
With 'Siegfried' the drama advances another stage. Many years have
elapsed since the tragic close of 'Die Walkuere.' Sieglinde dragged
herself to the forest, and there died in giving birth to a son,
Siegfried, who has been brought up by the dwarf Mime in the hope that
when grown to manhood the boy may slay the dragon and win for him the
Nibelung treasure. The drama opens in Mime's hut in the depths of the
forest. The dwarf is engaged in forging a sword for Siegfried,
complaining the while that the ungrateful boy always dashes the swords
which he makes to pieces upon the anvil as though they were toys.
Siegfried now comes in, blithe and boisterous, and treats Mime's new
sword like its predecessors, blaming the unfortunate smith for his
incompetence.
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