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Updated: June 10, 2025
The dragon was dead, the bath was over, and clad once more in his deerskin, Siegfried set out for the smithy. He brought no charcoal for the forge; all that he carried with him was a heart afire with anger, a sword quivering to take the life of the Nibelung, Mimer.
When their word was given, Siegfried took his queen in his arms straightway, and kissed her before the warriors. The circle brake up when this was ended, and Siegfried took the seat of honour with Kriemhild. The vassals served before them, and his Nibelung knights stood nigh.
Mime's theme, and that of all the Nibelung smiths, is characteristic enough; they are not contemptible in themselves, though through them we find the whole tribe of these smiths to be contemptible; and the tremendous swing of this second section of Siegfried's song makes every other smith's song seem by comparison contemptible.
Following this leader, the eye of the plastic artist will ultimately behold the marvels of another visible world, which, previous to him, was seen for the first time only by the creator of such works as the Ring of the Nibelung that creator of highest rank, who, like AEschylus, points the way to a coming art.
What do you mean by Raff's confidential letter against the "Tannhauser" notice in the Grenzboten? Do not be offended, dearest friend, because I have not yet written to you about the "Ring of the Nibelung" at greater length. It is not my business to criticize and expound so extraordinary a work, for which later on I am resolved to do everything in my power in order to gain a proper place for it.
Loge accompanies him, and the two enter the dark kingdom of the gnomes, who are constantly at work forging the metals. By virtue of his gold Alberich has already made himself master of all the gnomes, but Wotan easily overpowers him and carries him off to the mountain. The Nibelung, however, clings to his precious gold, and a struggle ensues for it.
What he was now writing was what his enemies tauntingly called "the music of the future," because, as they said, nobody liked it at present; but what he himself called the "art work of the future," in which all the fine arts are inseparably united. The biggest of his works, the "Nibelung Tetralogy," was conceived and for the most part written in Switzerland.
During his sojourn he held a reading of his libretto to "The Ring of the Nibelung" at Mme. Liszt's before a choice audience, which included Liszt, Berlioz and Von Bülow. This occurred in the early fifties. Cosima, who was among the listeners, was at the time fifteen or sixteen years old. The mere fact of her presence at the reading is recorded.
But, for all the folk could do, they pressed forward merrily. A thousand of the Nibelung knights in habergeons went with them, that had left fair women at home, the which they never saw more. The wounds of Siegfried gaped in Kriemhild's heart. The Christian faith was still weak in those days. Nevertheless they had a chaplain with them to say mass. He returned alive, escaped from much peril.
Does it seem possible now that he had to struggle for twenty-five years before he could secure the production of his "Ring of the Nibelung"? Yet such was the case. Then, too, he was poor, and sometimes driven to such straits that he contemplated suicide.
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