Wednesday, October 02, 2013

The Aryan Doctrine of the Ages Portrayed in Wagner`s Der Ring des Nibelungen

The greatest work of Richard Wagner`s career was of course the tetralogy Der Ring des Nibelungen, comprising the four interlinking music dramas of Das Rheingold, Die Walkuere, Siegfried and Goetterdaemmerung. One does not just listen to this music, one experiences it, especially if viewed on stage or the big screen but even listening to the music itself one cannot help but be transported to an age outside of time itself. The music even without the libretto is perfectly capable of effecting a change in spiritual state.

I was first exposed to Wagner`s music in my late 20s and this very experience acted as a catalyst for my spiritual and racial awakening. Listening today to his music as a man in my 50s I am still transformed to a realm beyond this one, an unspoilt Aryan realm beyond conventional time and space. 

Wagner`s music is his gift to the Aryan world for only an Aryan can truly experience and understand the hidden message behind the music. As I have said before listening to his music, in particularly Der Ring is in itself a valid spiritual experience. Bayreuth is more than just a theatre or an `opera house`: it is a temple dedicated to Aryan art. However in the decades following the end of World War II it has experienced every kind of sacrilege.

The finest interpretation of Der Ring is in my opinion that of Herbert von Karajan and the Berliner Philharmoniker, recorded in the studio from 1966-1970. As fine as Georg Sollti`s studio recording of Der Ring is it lacks one important factor: an Aryan conductor and this is why it will always rank second to von Karajan`s interpretation for this music can only be fully understood and appreciated by an Aryan.

Whilst I own the full recording of von Karajan`s Ring amongst several others it is the Highlights album which I first listened to in  1989 which won me over to Wagner`s music. Even today whilst listening to the Highlights CD I am struck by one important spiritual observation: Wagner demonstrates through his tetralogy the Aryan doctrine of the four ages and their cyclical nature.

Das Rheingold with its emphasis on the building of Walhall focuses purely on the world of the Gods with the main attention being devoted to Wotan and the other primary Gods: Donner, Froh, Freia, Fricka, Erda and Loge. This is the Aryan Golden Age but a hint of the degeneration to come is apparent by the final closing scene of the work.

Die Walkuere clearly demonstrates the rupture in the relationship between Wotan and His favourite daughter Bruennhilde. Through Her disobedience the degeneration  has occurred. The focus is no longer only the world of the Gods but also the world of man-heroic Germanic man that is, with the introduction of the characters of Siegmund, and Sieglinde his twin sister and bride, the parents of Siegfried. These are the Volsungs, whose ancestor was sired by Wotan Himself. These are in reality demi-Gods.This is the Silver Age.

With Siegfried it is clear that the world of the Gods has now fully faded into the background and the attention is entirely focused on the world of men. Wotan now appears as Der Wanderer and His power is broken when His spear Gungnir is broken on the sword Notung, Siegmund`s sword reforged by his son Siegfried. This is the Bronze Age, the age of the Aryan God-man who realises his own divinity and starts to act independently from the Gods.

Finally we have the Iron Age also known as the Kali Yuga, the age we find ourselves in now:

"Brother will fight brother and be his slayer,
brother and sister will violate the bond of kinship;
hard it is in the world, there is much adultery,
axe-age, sword-age, shields are cleft asunder,
wind-age, wolf-age, before the world plunges headlong;
no man will spare another."[Voluspa 45, Elder Edda]
 This age is represented well in Goetterdaemmerung where Siegfried is betrayed by his blood brothers and this act of betrayal leads directly to the epoch changing events of Ragnarok. However a glimpse of a new age, a new Golden Age is tantalisingly hinted at musically at the conclusion of the work.

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