It is worth
while remarking that an interval of twelve years elapsed between the
composition of the second and third acts of 'Siegfried.' In 1857,
although 'Der Ring des Nibelungen' was well advanced towards completion,
Wagner's courage give way. The possibility of seeing his great work
performed seemed so terribly remote, that he decided for the time being
to abandon it and begin on a work of more practicable dimensions. In
1869 King Ludwig of Bavaria induced him to return to the attack, and
with what delight he did so may easily be imagined. At first sight it
seems strange that there should be such complete harmony between the
parts of the work, which were written at such different times. The
explanation of course lies in the firm fabric of guiding themes, which
is the sure foundation upon which the score of 'Siegfried' is built. Had
Wagner trusted merely to the casual inspiration of the moment, it is
possible that the new work would have harmonised but ill with the old;
as it was, he had but to gather up the broken threads of his unfinished
work to find himself once more under the same inspiration as before. His
theory still held good; his materials were the same; he had but to work
under the same conditions to produce work of the same quality as before.
In 'Goetterdaemmerung' we leave the cool forest once more for the haunts
of men, and exchange the sinless purity of youth for envy, malice, and
all uncharitableness.
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