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Fricka is hurrying toward her. Fasolt interposes: Not to be touched! She still belongs to them until the ransom have been paid.
And thereafter he will go to Hell, rather than to Valhalla. How now can Brynhild, being what she is, choose her side freely in a conflict between this hero and the vassal of Fricka? By instinct she at once throws Wotan's command to the winds, and bids Siegmund nerve himself for the combat with Hunding, in which she pledges him the protection of her shield.
She turned to Ottenburg reproachfully: "It's noble music, Fred, from the first measure. There's nothing lovelier than the WONNIGER HAUSRATH. It's all such comprehensive sort of music fateful. Of course, FRICKA KNOWS," Thea ended quietly. Fred sighed. "There, you've spoiled my itinerary. Now I'll have to come back, of course. Archie, you'd better get busy about seats to-morrow."
Fricka constitutes something of a living reproach to her husband, though a certain tender regard still exists between them through the introductory Opera. A thankless part is Fricka's, like that of Reason in opposition to Feeling and Genius. Now Loge, who had been tamed by the conquering spear, hated his tamer.
When she reappeared, in walking dress with Fricka at her heels Helbeck opened the heavy outer door for her. "May I have Bruno?" she said. Helbeck turned and whistled. "You are not afraid?" he said, smiling, and looking at Fricka. "Oh, dear no! I spent an hour this morning introducing them." At that moment Bruno came bounding up.
The sun, indeed, was gone, but the west still glowed, and the tall larches in the front enclosure stood black against a golden dome of sky. Laura rose and left the room. As she opened the door she caught Augustina's quick look of relief and the drop of the knitting-needles. Fricka was safely prisoned upstairs.
The Fricka music in the second scene is as effective on the piano as in the theatre, and the last scene is as effective on a concert orchestra as in the theatre; in fact, in the theatre the device of a pasteboard rainbow, coloured to suit German taste, detracts from the effect.
Fricka wakes first, and is startled, not to say horrified, by the apparition. The Giants, Fasolt and Fafner, have built the castle, and the promised payment is Freia, Fricka's sister, whose apples all gods and goddesses must eat every day, else they will fade and perish.
In the mountains he calls his war-maiden Brynhild, the child borne to him by the First Mother, and bids her see to it that Hunding shall fall in the approaching combat. But he is reckoning without his consort, Fricka. What will she, the Law, say to the lawless pair who have heaped incest on adultery?
When the giants, however, had been subsidised for the great work of building the house, the narrow-conscienced women had been kept out of the way while an agreement was reached with the builders; a grievance which Fricka remembers, and does not let her spouse forget, when the evil consequences of his act are upon them.
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