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The Realm of the Fearless:
An Analysis of Fear in Wagner’s Der Ring des Nibelungen
Fear serves as a reminder that everyone is vulnerable. The best of men fear, as do the
worst. The ultimate task in life is to battle it. Victor Hugo once said, “Courage is not the
absence of fear, but the mastery of it.” As encouraging as this statement may be, Richard
Wagner and the Vikings would ardently disagree. Warriors in Viking society spit in the face of
fear; it hindered a happy and peaceful life. Fear was for the weak. On second glance, perhaps in
some aspects they would agree with Hugo; one must condition oneself in order to undermine fear
and ignore its presence. Whatever the case, fear is something that connects one generation to
another, one person to another. It connects Loki to the modern day student, and Thorstein
Ketilsson to Richard Wagner. Wagner takes advantage of these “fearful connections” in his
opera, Der Ring des Nibelungen.
However, before one analyzes the Vikings or a 19th Century opera, one must first
understand the circumstances surrounding each. Similarly, before one analyzes fear in this work,
one must first understand Richard Wagner. The Encyclopedia of World Biography calls Wagner
“the most important seminal figure in 19th Century music”, and with good reason (“Richard
Wagner”). Wagner quintessentially served as the Snorri Sturluson of 19th Century opera. Not
only did he write operas that are still viewed as nothing short of brilliant, but his work Opera and
Drama, written from 1850-1851, described how to write singable poetry, emphasized the
importance of legend in theater, and introduced the concept of Gesamtkunstwerk, or the “total
work of art” which combined the visual, literary, and auditory arts. This “manual” changed
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theatrical life across the globe (“Richard Wagner”). Wagner demanded a change in traditional
theater throughout his life (Large), and he accomplished it.
How did such an important and crucial figure in the opera world come to be? Not
surprisingly, inspiration came to Wagner from a certain bard whose name still lingers centuries
after his death. Shakespeare fascinated Wagner from a young age, leading him to explore the
fantastic, grotesque, and magic in theater (Large). Following in his idol’s footsteps, Wagner
intensely studied the Greek tragedians (Large). Wagner didn’t stop there; he later gained
knowledge for his fantastical operas primarily from Jacob Grimm’s Teutonic Mythology (Pitts).
The supernatural provided Wagner with a way to mentally inhabit a world he envisioned, both
parallel in some ways and perpendicular in others to his own 19th Century Germany.
One could say that an interest in the theatrical arts came naturally to young Wagner; his
father died just as Wagner reached six months of age, and the man Wagner’s mother married
shortly after her husband’s death, Ludwig Geyer, worked as a traveling actor (“Richard
Wagner”). This stepfather was rumored to be Wagner’s biological father, as his mother had
intimate relations with him prior to Wagner’s birth. This legitimacy dispute caused Wagner
much distress; there were rumors that Geyer may be Jewish, fueling Wagner’s notorious antiSemitism from a young age. Regardless of religion, Geyer died as Wagner reached eight years
old, and Wagner lost his second father (Large). Losing two fathers before the age of ten, it is not
surprising that many of Wagner’s operas focus on fatherless characters.
Identity crises were not the only tribulations that plagued Wagner; throughout his life he
also experienced a great deal of debt troubles that would greatly influence the rest of his life
(“Richard Wagner”). Running from creditors, Wagner travelled to Paris where he faced French
musical theater, and found that he couldn’t compete with the greats of French opera (Large).
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With invaluable help from the Jewish-German composer Giacomo Meyerbeer, he managed to
premier Der fliegende Holländer (Large). However, even aid from a Jew did nothing to stop the
anti-Semitic views of the “intellectual forefather of Nazism,” and Wagner blamed Meyerbeer for
all troubles he encountered in Paris (Large). After his encounters with the French, Wagner
returned to Germany. Nonetheless, after fighting in the Revolution of 1848, Wagner found
himself exiled to Switzerland. Switzerland then served as the birthplace of the conception of
Wagner’s arguably greatest work, Der Ring des Nibelungen, a four-part opera written over a
span of 30 years and inspired by the Norse Saga of the Volsungs (“Richard Wagner”).
The four parts began as poems and took over 30 years to finish entirely; these poems
turned into a monumental opera, central to Wagner’s career (“Richard Wagner”). In Der Ring
des Nibelungen, Wagner imagined an enhanced world, comparable to that of his Germanic
ancestors: a world “free from the subservience to supernatural bondage”, a world where strength
and savagery dominated (“Richard Wagner”). The opera illustrates Wagner’s strong belief that
the source of all human activity was fear, intervening in the life-long “quest for moral and racial
purity” (“Richard Wagner”). Within this four-part opera, the audience experiences firsthand
protagonists of obvious superiority—perfection manifested in beings.
The first part of the opera is entitled The Rhinegold, opening with three Rhinemaidens,
guarding the coveted Rhinegold. The nibelung Alberich steals the gold and crafts a ring. This
ring holds immense power, allowing its wearer to control all whom he wishes. With it, Alberich
enslaves his fellow nibelungs, forcing them to mine gold and his brother Mime to craft a helmet
which allows its wearer to not only shape-shift, but also to transport himself wherever he desires.
Meanwhile, the Allfather god Wotan makes a deal with two giants, Fafner and Fasolt to build
Walhall, his glistening castle. The giants finish, and demand the beautiful goddess Freia as
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payment. Pressured by the other gods, Wotan enlists Loge to help him escape the bargain. Loge
suggests Alberich’s gold as payment for the giants, so he and Wotan trick the Nibelung and steal
the gold. Alberich, in anger, curses the ring. The two gods then pay the giants in gold. Fafner
kills Fasolt in envy, and then hoards his gold as a dragon.
In the second part of the opera, The Valkyrie, separated twins Siegmund and Sieglinde are
reunited and fall in love. They commit the sin of incest, and Sieglinde’s husband Hunding
challenges Siegmund to a duel. Siegmund, encouraged by Sieglinde, draws the sword Notung
from an ash tree. Wotan orders his Valkyrie daughter Brünnhilde to help Sieglinde, thus giving
the Walsung victory over Hunding. However, Wotan’s wife Fricka intercedes, and Wotan
changes the command. Brünnehilde goes against Wotan’s wishes after seeing the love shared by
Siegmund and Sieglinde. She aids the Walsung; however, Wotan comes from Walhall and
shatters Notung with his spear, killing Siegmunde. Brünnehilde then escapes with Sieglinde,
taking the distraught woman to her Valkyrie sisters. Her sisters briefly shield the pair from
Wotan, but when the Allfather calls Brünnhilde a coward, she steps forward. Wotan curses her
to sleep until awakened with a kiss by a man who will become her husband. Brünnhilde begs her
father to allow her to at least be awakened by a true hero, and Wotan relents, surrounding her
rocky bed with dangerous flames that only a hero can pass through. He then leaves Sieglinde in
the woods and makes his grand exit.
Then comes the third piece of the opera, Siegfried. The audience meets its villain before
its hero, as Mime the nibelung makes a reappearance as the foster father of the orphaned
Siegfried, Siegmund and Sieglinde’s child. Mime desires to trick Siegfried into killing the
dragon Fafner so he can claim the Rhinegold ring and shape-shifting helmet as his own, but he
fails at creating a sword strong enough for the young hero. When Siegfried is out, Mime meets
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Wotan disguised as a wanderer who reveals to him that only Siegfried, the boy who knows no
fear, can craft the sword from the broken Notung. When Siegfried returns, this is exactly what
he does, claiming that he will out-smith the master metalworker Mime. When Siegfried pulls a
mended Notung from the flames, Mime convinces the Walsung that he must meet the dragon
Fafner so that he can experience fear. Siegmund consents, curious about “fear” and the two set
off towards the cave.
After they arrive, Siegfried slays Fafner with the sword Notung, and does not experience
fear while doing so. Mime attempts to poison Siegfried, but after unintentionally tasting the
dragon’s blood, Siegfried can see right through Mime’s act. The hero then beheads his
villainous nibelung foster father. Mime’s brother Alberich witnesses the entire stream of events.
Through the power of the dragon’s blood, Siegfried can also understand the language of the
birds. A woodbird tells him to take the ring and helmet and find his soon-to-be bride Brünnhilde
resting on a mountaintop surrounded by flames. Siegfried obliges, hoping that Brünnhilde will
be able to teach him fear. On his way, Siegfried meets Wotan in disguise. The two exchange
harsh words, and Siegfried learns that Wotan is his father’s murderer. Avenging his long-missed
father, Siegfried shatters Wotan’s spear with Notung, then goes on to meet Brünnhilde. He goes
through the flames without fear, and awakens the maid. The two immediately fall in love and
make vows to one another. Siegfried then leaves to find the hall of King Gunther, but not before
placing the ring on Brünnhilde’s finger.
While Siegfried is away, Brünnhilde’s sister Waltraute visits her, and begs her to return
the ring to the Rhinemaidens in order to save Walhall from destruction. Brünnhilde refuses, as
the ring is a symbol of Siegfried’s love. Little does Brünnhilde or her hero know that in the final
part of Wagner’s opera, Twilight of the Gods, Gunther’s half-brother Hagen is scheming. Hagen
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is Alberich’s son, and has his own intentions on the Rhinegold ring. After Siegfried arrives,
Hagen’s scheme plays out just as planned: A potion is given to Siegfried, who forgets about
Brünnhilde and is overcome with love for Gunther’s sister Gutrune. Gunther will allow the two
to marry if Siegfried helps him acquire Brünnhilde. Siegfried agrees, so the two become blood
brothers and set off on their journey. Using the magic helmet to help him convince Brünnhilde
that he is Gunther, Siegfried seizes the ring from Brünnhilde and forces her to agree to become
his wife. The two sleep with Notung between them as a symbol of loyalty. Gunther, his new
bride, and Siegfried all return home, and the marriages take place. Seeing Siegfried in his
original form confuses the distraught Brünnhilde. However, when she notices the ring on
Siegfried’s finger, Brünnhilde declares that he was false to both Gutrune and she. Siegfried, still
blinded by the potion, denies such a crime. Both swear on a spear that they are telling the truth.
The following day the brothers and Siegfried go hunting. While hunting, Siegfried comes upon
the Rhinemaidens, who attempt to convince him to return the ring. Siegfried refuses, and during
a picnic in which he sings of his accomplishments, Hagen murders him. When the sad
procession returns home, Hagen also murders Gunther. Brünnhilde returns the ring to the
Rhinemaidens, and dies on Siegfried’s pyre. Hagen rushes after the ring, but the Rhinemaidens
drag him down into the murky waters. The opera ends with a scene of Walhall burning to the
ground.
Throughout the complex Der Ring des Nibelungen, Richard Wagner gives his audience a
number of things to think about. There are a number of relatable and universal themes, but that
of fear and its consequences stands out particularly. Fear is a powerful psychological emotion
that plays a part in every man’s life. Is it really so negative an emotion? Richard Wagner uses
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Der Ring des Nibelungen to illustrate the role of fear in the Norse hero’s life, and deeply
connects himself to his work by portraying the psychological intensity of the emotion itself.
Many call the Vikings fearless, but as possible as it may seem, the Vikings were not born
as Siegfried was: bold and unafraid, without an ounce of fear in their bodies. No, the immense
courage grew from how these Norsemen actually lived. Customs and beliefs determined the
Norse concept of fear and the role it played in the hero’s life. Authors Christina Johansson
Robinowitz and Lisa Werner Carr attribute the fearlessness of the Viking people to Asa, or their
pagan faith (Johansson Robinowitz and Werner Carr 4). In this faith, as told by Stephen Henkin
in his article “Viking Fury – Legends of the Ravaging Norsemen,” Norse gods were “violent,
ardent, and passionate”, and their followers mimicked these traits. This faith in vicious,
supernatural entities greatly attributed to the Viking perception of fear. Fear in general was a
most undesirable emotion; the Vikings never admired it. On the contrary, Vikings appreciated
emotions and characteristics opposite of fear, such as brutality, lust, anger, courage, strength, and
guile (Henkin). These virile qualities can be observed throughout many historical sagas, such as
that of the Saga of the People of Vatnsdal: “Ketil was a noble and wealthy man, of great strength,
and very brave in all his exploits” (The Sagas of the Icelanders 189). These desirable and
masculine qualities of Ketil the Large continue through his son Thorstein, and later his grandson,
Ingimund: “He was talented in all games and very able in every accomplishment…tough and
combative with his enemies” (The Sagas of the Icelanders 199). The legendary saga which
Wagner draws inspiration from, Saga of the Volsungs, also shows desirable bravery and
fearlessness as well; Brynhild vows to only marry “the one who knows no fear” (Byock 67). The
Viking poets scattered this motif of admirable courage throughout their literature. That being
said, it comes as no surprise that Vikings scorned the fear of death (Johansson Robinowitz and
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Werner Carr 4). Vikings spurned fear in general, but even more so the fear of death. After all, if
a courageous warrior died during battle, he could travel to Valhalla, Odin’s hall (Johansson
Robinowitz and Werner Carr 4). Not only that, but if a warrior lived, he would eventually die at
Ragnarok, the end of the world. Fear of death was simply impractical. Overall, fear to the
Vikings demonstrated nothing more than weakness.
Wagner not only stuck to this Viking philosophy regarding fear in Der Ring des
Nibelungen, but also believed in it. He used his opera as a means of showing a realm dominated
by strength and savagery, a realm controlled by the fearless. He believed the source of all human
activity to be fear, and that if this fear were purged, one could achieve the perfect life (“Richard
Wagner”). Just like Sigurd in the Saga of the Volsungs, Siegfriend in Der Ring des Nibelungen
knows no fear. Wotan disguised as the Wanderer tells Mime that “One who has never learnt to
fear—he makes Notung new” (Wagner 177), and Siegfried later proves to be the hero who
knows no fear by forging his own sword from the fragments of Notung (Wagner 182). In this
regard Siegfried illustrates, by Wagner’s philosophy, a perfect hero. Siegfried is truly fearless,
and thus the greatest hero in the work. He overcomes his orphaned state and still makes
something of himself through bravery. He is the one the audience admires, the perfect
protagonist by both Wagner and the Vikings’ standards.
Wagner’s Der Ring des Nibelungen also illustrates the intense psychological power of
fear that lurks in the mind. Fear stems from the instincts; it is entirely unavoidable. As Hilda
Roderick Ellis Davidson points out in her Gods and Myths of Northern Europe, “[Vikings]
resented any attempt to curb their freedom” (10). The fear instinct did exactly that, and thus the
Vikings had an incredibly amount of self-discipline that disallowed self-pity or whining (Ellis
Davidson 10). Fear was unacceptable and hindered a prosperous life; this is seen in Wagner’s
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work as well. Siegfried, unburdened by psychological fear and filled with strength, overcomes
Wotan, the greatest of the gods by shattering the Allfather’s almighty spear (Wagner 231). He
has no instincts of fear, and is thus the ideal hero. Wagner, like the Vikings in their sagas,
envisioned a perfect hero with no trace of fear or cowardice in his body.
One can also see in the opera a psychological portrayal of Wagner’s fear as well, deeply
connecting him to his subject. Wagner was on a quest during his life, a quest to become a hero.
Similarly to Siegfried, he grew up virtually fatherless and had to overcome this lack of paternal
influence. The scene in which Siegfried overcomes Mime by forging Notung is parallel with
Wagner overcoming his German-Jewish savior Meyerbeer by composing operas. An avid antiSemite, Wagner loathed the assistance he gained in Paris from Meyerbeer, but at the same time
he was indebted to the German-Jewish composer. This inner-conflict mirrors that of Siegfried
and Mime: “Much you’ve taught to me, Mime, and many things I have learnt; but one thing you
most long to teach me, that lesson I never learn; how not to loathe your sight” (Wagner 160).
Meyerbeer was a master craftsman, like Mime, but also detestable to Wagner’s eye. In fact,
Wagner later referred to him as “an example of alleged creative sterility among Jews” (Richard
Wagner). However, as Wagner became a much greater success than Meyerbeer, Siegfried
overcame Mime as the master craftsman, proving himself as the one who knows no fear, and
thus the perfect hero. Wagner puts his own psychological fear of inadequacy into his work,
giving it more meaning and emotion than it could have had otherwise.
Overall, Wagner creates an intricate universe that combines fantasy with the past, heroics
with cowardice, and perfection with fault. By using an instinctual, psychological, and physical
emotion that all audiences can relate to despite ethnicity, age, or century, Wagner mimics
Shakespeare in creating a piece of lasting literature. The work contains many universal themes,
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but fear stands out. It is a dark emotion, and using it Wagner provokes his audience with
unspoken questions. Is a happy life truly possible with fear looming overhead? What is bravery,
and who can command fear? Is fear truly a matter of mastery, or is it unavoidable? The Vikings
refused to acknowledge fear, so did they come the closest to grasping perfection? Siegfried is
Wagner’s perfect hero, and his abundance of courage and lack of fear would place him with the
great Viking heroes as well. Wagner takes a traditional Viking hero and resurrects him as his
own perfect hero, showing him off to his audience. In this way, Wagner illuminated Norse
mythology, and brought it back to life. That truly takes a brave soul.
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Works Cited
Byock, Jesse L., trans. The Saga of the Volsungs. London: Penguin, 2012. Print.
Ellis Davison, Hilda Roderick. "1. The Myth Makers." Introduction. Gods and Myths of
Northern Europe. London: Penguin , 1990, 1964. 9-14. Print.
Henkin, Stephen. "Viking Fury - Legends of the Ravaging Norsemen." World and I Jan. 2000:
194. Military and Intelligence Database Collection. Web. 24 Mar. 2013.
Johansson Robinowitz, Christina, and Lisa Werner Carr. "Chapter 1: From the Vikings to the
Welfare State: A Millennium in Sweden." Modern Day Vikings: A Practical Guide to
Interacting with the Swedes. Yarmouth: Intercultural, 2001. 1-8. Print.
Large, David. "Richard Wagner." Europe 1789-1914: Encyclopedia of the Age of Industry and
Empire. Ed. John Merriman and Jay Winter. Detroit: Charles Scribner's Sons, 2006.
Biography In Context. Web. 7 Mar. 2013.
Pitts, R. "Wagner, Richard. Wagner's Ring in 1848: new translations of the Nibelung myth and
Siegfried's death." CHOICE: Current Reviews for Academic Libraries Oct. 2010: 302.
Biography In Context. Web. 7 Mar. 2013.
"Richard Wagner." Encyclopedia of World Biography”. Detroit: Gale, 1998. Biography In
Context. Web. 7 Mar. 2013.
The Sagas of Icelanders: A Selection. New York: Penguin, 2001. Print.
Wagner, Richard. The Ring of the Nibelung. Trans. Andrew Porter. New York City: W.W.
Norton &, 1976. Print.