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Updated: June 12, 2025
All Brunnhilda's plaint is magnificent in its sweetness and pathos; and the sleep-music, with its caressing, lulling figure, is a thing by which a man's memory might well live for ever. This, the tragedy of Siegmund and Sieglinda and the punishment of Brunnhilda, is the first of the subsidiary dramas; the second, the finding of Brunnhilda by Siegfried, must now be considered.
He claims and seizes Brünnhilda, sends her into the sleeping-chamber, and, swearing truth to his new friend Günther, follows with his drawn sword ready to place between him and his bride. So the act closes. Brünnhilda's horror and shame are unspeakable; she cannot understand; Wotan had promised her the great hero, and this promise is broken and a last humiliation inflicted on her.
Brunnhilda enters; all now has become clear to her, and she resolves that she, like Wotan, will renounce a loveless life a life based on fraud and tyranny. She tells Gutruna that Siegfried has never belonged to her is hers, Brunnhilda's; and on receiving this crushing blow, Gutruna creeps to her brother's side and lies there, miserable and hopeless.
An instance of Wagner's subtle feeling is the passage where Wotan "kisses away" Brünnhilda's godhood and lays her to sleep, as one with the rocks and stones of mother earth, Erda, whose music accompanies the act. Wotan, like Alberich, has renounced love; so just previously we have heard the corresponding passage from the Rhinegold.
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