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The Ring is in the world, with its terrific power; and there is in the world one whom wrong has turned into a deadly enemy, whose soul is undividedly bent upon getting possession of the Ring, which Wotan may not himself attempt to get stopped, if not by Erda's warning or by terror of the curse, by the fact that he finally gave it to the giants in payment of an acknowledged debt, and that his spear stands precisely for honor in relations of the sort.
Had Schopenhauer heard this music it would have justified his remark about the use of clouds. From the moment that Wotan begins his invocation the quality falls: the motive is, for Wagner, a poor, mechanical thing; and an appearance of life is only kept up by marked rhythms, forced changes of key, and noisy orchestration. Erda's music is not on the highest level.
Wotan's idea, from which the abode of the gods received its name of Walhalla, had been to people his halls with hordes of heroes who should defend it from Alberich and his "army of the night." Erda's prophecy of a dark day dawning for the gods had destroyed Wotan's peace. The craving to know more of this drove him to seek her in the depths of the earth.
The curtain unclosing shows the interior of the Hall of the Gibichungen, open at the further end on the Rhine. Gunther, his sister Gutrune, and their half-brother Hagen, sit at a table set with drinking-horns and flagons. This Hagen is the Nibelung's son of Erda's prophecy: "When the dark enemy of Love shall in wrath beget a son, the end of the gods shall not be long delayed."
Irish poetry is not only the tragic voice of the keene; Gaelic had its comic muse as well, a robust virago, of the breed which produced Aristophanes and Rabelais and Slipper with his gift for epic narrative is a camp-follower of that regiment. By P. H. Pearse. Being a Record of St. Erda's College, September, 1908, to Easter, 1916.
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