The Ring Cycle written and composed by the nasty anti-Semite
Richard Wagner is famous for many things.
One thing it is not famous for is that yours truly is part of a
presentation of the Ring as part of the Opera Australia (OA) Ring Cycle Festival
in Melbourne.
In celebration of Wagner’s 200th birthday, OA is
mounting the whole 17 hour ordeal. The
Ring Cycle is a 4 opera extravaganza of helmeted women warriors (the Valkyries),
adulterous gods, incestuous siblings, incestuous nephew and aunt and heaps of gratuitous
killings. It is a cult classic and the whole
season was booked out a year ago at over a thousand bucks for the tetra-logy.
But it is a funny thing to be so popular. The story and music are inaccessible. The story is remote from the modern world and
complex. The operas are mainly unmelodious
recitative without any really catchy tunes.
The most hummable is the Ride of the Valkyries but that is the exception rather than the tuneful rule.
The rest can be a turn off.
Indeed the phrase, “it ain't over till the fat lady sings” derives from
the pain endured waiting for the Valkyrie Brünnhilde to finish off the last 5 hour song fest with a twenty
minute aria. But the piece has survived
and thrived. The dramatic music apart,
the power comes from the stories that make up this narrative.
Stories often have a mythic power that overcomes objections about lack of plausibility or evidence.
The truth though fascinating, is never a big thing if a legend is either
loved, consoling or addresses troubling issues. The founding fathers of sociology such as
Weber and Durkheim documented the power of the story to the troubled
human. Durkheim in particular documented
stories that are almost identical in variety of different cultures because of their power to
console.
We see this universality of popular tales in the Ugly
Duckling. The narrative where the downtrodden
conquers pain and oppression is found everywhere. Cinderella, Forrest Gump, most romantic
comedies, Oliver Twist (and lots of Dickens) are just some of the countless stories
that speak to us all of a mythic justice in a cruel world. In Christian liturgy, the equivalent of the
Ugly Duckling is the Magnificat where Mary’s prayer assures us that those in
suffering are raised high by God and bastards get it in the neck. This is Cinderalla and the notion of Karma,
writ large.
"My soul doth magnify the Lord: and my spirit hath rejoiced
in God my Saviour.
…And his mercy is on them that fear him: throughout all
generations.
…he hath scattered the proud in the imagination of their
hearts.
He hath put down the mighty from their seat: and hath
exalted the humble and meek.
He hath filled the hungry with good things: and the rich he
hath sent empty away."
So the strength of the
narrative of the Ring is buttressed by the potent story lines that appeal to
those humans in search of consolation in a harsh and unjust world.
The Ring story is based on Nordic myths just like the Lord
of the Rings. Here is a Durkheim/Campbell
type comparison of stories in the opera that are found in other fantasies in
European culture.
RING STORY
|
SIMILAR STORIES
|
SOCIAL PURPOSE
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A magical ring that both empowers and corrupts those who wear it.
|
Nordic and Tolkien ring stories
|
A narrative about the corruption of absolute power and the inability
of power to make the powerful happy.
It is both consoling to the powerless and a warning to would be
dictators
|
Brünnhilde is asleep until kissed
|
Sleeping Beauty
|
Don’t worry if you wait years for a bloke, someone will come along.
|
A magical sword only a son of Wotan the King of the Gods can extract
|
Excalibur
|
Somehow, a man born to lead will find the means to get there.
|
The hero Siegfried slays a dragon
|
St George and the dragon
|
There is always a hero out there to save us from shit.
|
The Rhinemaidens are beauteous women who live in the river Rhine and
have no sense of the cold
|
Mermaids
|
There are always inaccessible hot magical women who blokes can only
dream of. Get over it.
|
Pay your debts. The whole saga
is essentially a building dispute because the Gods wanted to avoid paying the
builder of their wonder home, Valhalla
|
Many tales of Aesop were about work and the need to do it such as the Hare and the
Tortoise. Many bible stories are about fairness and payment.
|
No free lunches in Wagner’s world.
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Brünnhilde sacrifices her life to save the world
|
Jesus
|
Sacrifice and martyrdom are good to do. (Problematic for the godless).
|
Sigmund and Sieglinda are twins who have an incestuous relationship.They die and their heroic but dumb son is murdered.
|
Zeus and Hera Greek Gods who are husband and wife and brother and
sister – not to mention Oedipus. Lots (a pun) of biblical stories.
|
Incest is problematic.
|
The great commentators on the function of myth such Joseph
Campbell (with his 4 reasons for myths) and Claude Levi Strauss all stress the role of myths to support the social order.
Myths hold out the hope of magic, stress moral lessons and convey the
sense that we are cared for.
For the godless like me who specialize in challenging the
stories that underpin our culture, we need to know what we have gained and lost
by challenging the veracity of our myths and legends. Our cause will be served by making those
myths that are still perceived more like Aesop tales. These fables are seen as beguiling fantasies with a messages because they are acknowledged
as fictional. Let us save the stories
but not be seduced into either accepting that they are true or that we need to
endure 17 hours of difficult music to get them.
What is your view?
What is the enduring power of myth?
Will we ever live in a world without a need for myth?
Does the bible fit well into this analysis of myth?
Over to you….
Next time - what does one do if a great artist like Wagner is a racist, sexist swine whose music was appropriated by the Nazis???