Richard Wagners Ring des Nibelungen und seine Symbole. Musik und Mythos.

by Robert Donington

This book is about the poetical and musical symbols in Wagner's ring; and what Wagner brought, with all the suggestive artistry at his disposal, into symbolical and artistic consciousness, I as critic am trying to bring some small stage further on towards intellectual and analytical consciousness.

Genres: Music, Nonfiction

Paperback

First published January 1, 1963

Reviews

[David · Rating 4 out of 5]

This is a brilliant interpretation on Wagner’s great work in terms of Jungian depth psychology, and I’ve been listening to it as such recently in my ongoing attempts to resolve a crisis in my own life. We must not forget that the Rhinemaidens are mermaids. A mermaid’s embrace does not stand for human intercourse, with its mixture of projection and reality and its painful but rewarding struggle towards true mutual relationship. A mermaid’s embrace stands for illusion, for seduction by infantile fantasies, everything that we most needed to grow free from if our search for true relationship and mature living is to prosper. That being the case, what better favour can a mermaid show her suitor than by rejecting him? Her embrace is death, but her rejection is a challenge. If a man falls into self-pity and spends the rest of his life in search of the illusion which obstinately refuses to swallow him up, he will come to nothing. But if he can accept a measure of unsought frustration as the inevitable consequence of his own individuality (including all the neurotic tension which is at once the weakness and the strength of that individuality), then he may go on growing in stature and in character. He may grow to a point at which he is more capable of real love. But before that can happen, he may actually and symbolically have to find the courage to renounce every appearance of love, not knowing whether its reality will come back to him in the end or not. That’s the message of the Prelude to Rhinegold.

[R.K. Cowles · Rating 4 out of 5]

3 3/4 stars

[Gazmend Ceno · Rating 5 out of 5]

I gave this book 5 stars because the narrow (and therefore depth) of the research by the author. He remain focus on the topic that interest him, and that's a plus. You don't have to agree with him the whole time (I certainly don't) but it is a valuable hypotheses nevertheless. I would say that before tempting to understand this book properly, a good knowledge of Wagner operas (libretto included) is required for maximum effect.

[Greg Langmead · Rating 5 out of 5]

I got a lot out of his plot summary, told through the lens of Jungian analysis. In Donington’s view, we can best interpret the operas as psychological metaphors slash myths. When you do that, certain things make a bit more sense, such as the incest thing.

[James · Rating 4 out of 5]

My first reading opened the inner world of Richard Wagner to me. As I listen to The Ring, I want to connect with the motives in music. The author uses a system of numbering that might be useful. His first musical example is: The depths of the Rhine as undifferentiated nature. Other useful musical relationships connect with the symbols such as that of Rebirth and the Wanderer investigated by Jungians.

[Matthew Gallaway · Rating 5 out of 5]

I first read this book a few years ago but recently had cause to dip back in and was quickly absorbed. Perfect for anyone interested in Jungian psychology/symbolism and how these symbols pervade Wagner's Ring Cycle and the Eddic mythology on which it is based.

[Bjorn Arvidsson · Rating 4 out of 5]

Fascinating

[Morgana Blackrose · Rating 5 out of 5]

Like the operatic tetralogy itself, I've re-read this dozens of times and still get something new out of it every time.