Scene II. Dawn illumines a castle with glittering turrets on a rocky
height at the back. Through a deep valley between this and the foreground flows the Rhine.
The =Walhalla Motive= now heard is a motive of superb beauty. It greets us again and again in "Rhinegold" and frequently in the later music-dramas of the cycle. Walhalla is the abode of gods and heroes. Its motive is divinely, heroically beautiful. Though essentially broad and stately, it often assumes a tender mood, like the chivalric gentleness which every hero feels toward woman. Thus it is here. In crescendo and decrescendo it rises and falls, as rises and falls with each breath the bosom of the beautiful _Fricka_, who slumbers at _Wotan's_ side.
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As _Fricka_ awakens, her eyes fall on the castle. In her surprise she calls to her spouse. _Wotan_ dreams on, the Ring Motive, and later the Walhalla Motive, being heard in the orchestra, for with the ring _Wotan_ is planning to compensate the giants for building Walhalla, instead of rewarding them by presenting _Freia_ to them as he has promised. As he opens his eyes and sees the castle you hear the Spear Motive, which is a characteristic variation of the Motive of Compact. For _Wotan_ should enforce, if needful, the compacts of the gods with his spear.
_Wotan_ sings of the glory of Walhalla. _Fricka_ reminds him of his compact with the giants to deliver over to them for their work in building Walhalla, _Freia_, the Goddess of Youth and Beauty. This introduces on the 'cellos and double basses the =Motive of Compact=, a theme expressive of the binding force of law and with the inherent dignity and power of the sense of justice.
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In a domestic spat between _Wotan_ and _Fricka_, _Wotan_ charges that she was as anxious as he to have Walhalla built. _Fricka_ answers that she desired to have it erected in order to persuade him to lead a more domestic life. At _Fricka's_ words,
"Halls, bright and gleaming,"
the =Fricka Motive= is heard, a caressing motive of much grace and beauty.
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It is also prominent in _Wotan's_ reply immediately following. _Wotan_ tells _Fricka_ that he never intended to really give up _Freia_ to the giants. Chromatics, like little tongues of flame, appear in the accompaniment. They are suggestive of the Loge Motive, for with the aid of _Loge_ the God of Fire, _Wotan_ hopes to trick the giants and save _Freia_.
"Then save her at once!" calls Fricka, as _Freia_ enters in hasty flight. The =Motive of Flight= is as follows:
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The following is the =Freia Motive=:
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With _Freia's_ exclamations that the giants are pursuing her, the first suggestion of the Giant Motive appears and as these "great, hulking fellows" enter, the heavy, clumsy =Giant Motive= is heard in its entirety:
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For the giants, _Fasolt_, and _Fafner_, have come to demand that _Wotan_ deliver up to them _Freia_, according to his promise when they agreed to build Walhalla for him. In the ensuing scene, in which _Wotan_ parleys with the _Giants_, the Giant Motive, the Walhalla Motive, the Motive of the Compact, and the first bar of the Freia Motive figure until _Fasolt's_ threatening words,
"Peace wane when you break your compact,"
when there is heard a version of the Motive of Compact characteristic enough to be distinguished as the =Motive of Compact with the Giants=:
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The Walhalla, Giant, and Freia motives again are heard until _Fafner_ speaks of the golden apples which grow in _Freia's_ garden. These golden apples are the fruit of which the gods partake in order to enjoy eternal youth. The Motive of Eternal Youth, which now appears, is one of the loveliest in the cycle. It seems as though age could not wither it, nor custom stale its infinite variety. Its first bar is reminiscent of the Ring Motive, for there is subtle relationship between the Golden Apples of Freia and the Rhinegold. Here is the =Motive of Eternal Youth=:
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It is finely combined with the Giant Motive at _Fafner's_ words:
"Let her forthwith be torn from them all."
_Froh_ and _Donner_, _Freia's_ brothers, enter hastily to save their sister. _Froh_ clasps her in his arms, while _Donner_ confronts the giants, the Motive of Eternal Youth rings out triumphantly on the horns and wood-wind. But _Freia's_ hope is short-lived. For though _Wotan_ desires to keep _Freia_ in Walhalla, he dare not offend the giants. At this critical moment, however, he sees his cunning adviser, _Loge_, approaching. These are _Loge's_ characteristic motives:
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_Wotan_ upbraids _Loge_ for not having discovered something which the giants would be willing to accept as a substitute for _Freia_. _Loge_ says he has travelled the world over without finding aught that would compensate man for the renunciation of a lovely woman. This leads to _Loge's_ narrative of his wanderings. With great cunning he tells _Wotan_ of the theft of the Rhinegold and of the wondrous worth of a ring shaped from the gold. Thus he incites the listening giants to ask for it as a compensation for giving up _Freia_. Hence Wagner, as _Loge_ begins his narrative, has blended, with a marvellous sense of musical beauty and dramatic fitness, two phrases: the Freia Motive and the accompaniment to the _Rhinedaughters'_ Shout of Triumph in the first scene. This music continues until _Loge_ says that he discovered but one person (_Alberich_) who was willing to renounce love. Then the Rhinegold Motive is sounded tristly in a minor key and immediately afterward is heard the Motive of Renunciation.
_Loge_ next tells how _Alberich_ stole the gold. He has already excited the curiosity of the giants, and when _Fafner_ asks him what power _Alberich_ will gain through the possession of the gold, he dwells upon the magical attributes of the ring shaped from Rhinegold.
_Loge's_ diplomacy is beginning to bear results. _Fafner_ tells _Fasolt_ that he deems the possession of the gold more important than _Freia_. Notice here how the Freia motive, so prominent when the giants insisted on her as their compensation, is relegated to the bass and how the Rhinegold Motive breaks in upon the Motive of Eternal Youth, as _Fafner_ and _Fasolt_ again advance toward _Wotan_, and bid him wrest the gold from _Alberich_ and give it to them as ransom for _Freia_. _Wotan_ refuses, for he himself now lusts for the ring made of Rhinegold. The giants having proclaimed that they will give _Wotan_ until evening to determine upon his course, seize _Freia_ and drag her away. Pallor now settles upon the faces of the gods; they seem to have grown older. They are affected by the absence of _Freia_, the Goddess of Youth, whose motives are but palely reflected by the orchestra. At last _Wotan_ proclaims that he will go with _Loge_ to Nibelung and wrest the entire treasure of Rhinegold from _Alberich_ as ransom for _Freia_.
_Loge_ disappears down a crevice in the side of the rock. From it a sulphurous vapour at once issues. When _Wotan_ has followed _Loge_ into the cleft the vapour fills the stage and conceals the remaining characters. The vapours thicken to a black cloud, continually rising upward until rocky chasms are seen. These have an upward motion, so that the stage appears to be sinking deeper and deeper. With a _molto vivace_ the orchestra dashes into the Motive of Flight. From various distant points ruddy gleams of light illumine the chasms, and when the Flight Motive has died away, only the increasing clangour of the smithies is heard from all directions. This is the typical =Nibelung Motive=, characteristic of Alberich's Nibelungs toiling at the anvil for him. Gradually the sounds grow fainter.
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Then as the Ring Motive resounds like a shout of malicious triumph (expressive of _Alberich's_ malignant joy at his possession of power), there is seen a subterranean cavern, apparently of illimitable depth, from which narrow shafts lead in all directions.