The Thematic Role of Stabreim in Richard Wagner's Der Ring des Nibelungen JEFFREY L. BULLER 1 A History of she German Language, JobnT. Waterman notes that “alliver- ation (Stabreim) was the formal principle of versification in the early period of all the Germanic languages”! To speakers of English, perhaps the most famous examples of Stabrrim are those found in Sir Gamain and the Green Knight? and William Langland’s Piers Plowman. In Germany itself, Seabreims had a long oral tradition, cesulting at the start of the ninth century in such poems as the Hildesbrandsled and Heliand. In Scandinavia, the Peet (or Ear- lier) Fda is 2 late medieval collection of alliterative poems—composed origi- nally from the ninth through the twelfth centuries — that retold the legends of Norse gods and herocs. Though today the word Stabreim may be applied to any of these medieval works, it was coined as a technical term during the Romantic period. In the sixteenth century, for instance, speakers of German had referced to this type of poetry by adopting the Latin word “alliteratio” Only in the nineteenth century, when nationalists objected to using a Latin word for a characteristically German form of verse, was the new term developed.® The nationalistic scholars of this period recognized that the Old Norse expression fora sound or written character, “stafz” shared a linguistic root with its Ger- ‘man counterpart, “Buchstabe6 Stabreim was thus intended both to suggest “Buchstabreim” [letter rhyme] and to sound archaic in imitation of its Norse redecessor, Noe long ater Sai tat gan oe sil aa tbh er alta tive poctry had @ bricf revival in Germany. The reason for the renewed popu- larity of this form of verse was its appearance in Der Ring des Nibelungen, the massive cycle of four music dramas for which Wagner himself wrote the libret- tos. Wagner had a number of reasons for using Stabreim in the Ring. Firs, his story was based at least in part upon legends found in the Poetic Edda, Just as the scholars of his day had coined the term Stabreim because of its archaic sound, so was Wagner attracted to the archaic sound of the verse itself Stabreim, ‘Wagner believed, made his libretto immediately reminiscent of the historic oroo FEFEREY L, BULLER mythic period of his story.” Second, since Stabreim avoided both end-rhyme and a rigid metrical scheme, it allowed Wagner to set aside the artificial poetry of grand opera in favor of a more Aexible rhythm similer to that of ordinary speech.® Third, Wagner found the repetition of initial consonants to be itself highly musical. With Seabreim, the composer could create both linguistic har ‘monics® and dissonances! at will, thus using his text to reinforce the orches- ‘wal fine. Fourth, Wagner saw in Stabreim support for his view that vowels or “tone speech” [Tonsprache] developed historically before consonants. For this reason, Wagner argued, the vowels that were characteristic of end-chyme affected the listener on a primitive or emotional level, On the other hand, the consonants that were the distinctive feature of Stabreimt had a more rational or intellectual function, ! Finally, as a refinement of this theory, Wagner sought to associate specific consonants with specific themes or ideas. Ee could thus ‘use Stabreim as a sort of “phonetic leitmotif? a linguistic equivalent to the ‘musical phrases that are associated with characters or ideas throughout the "Sides five functions of Srabreim, the first four have been discussed by Wag- nerian scholars since shortly after the composer's death." The thematic role of Stabreim has, however, largely been ignored. 13 This is a major oversight since ‘Wagner himself regarded the connection between themes and sound 2s vitally important, For instance, in Opera and Drama he described how “in Stadreims Kindred speech-roots are fitted to one another in such a way, thar, just as they sound alike to the physical ear, they also knit like objects into one collec tive image” Later in the same treatise, he provided examples of how this [process might be applied to the libretto of a music drama. Stabreim, Wagner said, could be used to reinforce the similarity of words having equivalent emo- tional content (asin the verse “Liebe giebt Lust mum Leben” [Love gives delight 10 living]) or to provide an ironic contrast between words of opposing emo- tional effect (as in the verse “Die Liebe bringe Lust und Leid” [Love brings delight and sorrow]).18 “That Wagner intended Seabreins ro function thematically in the Ring is appar- ent from his use of phrases quite similar to these at several points in the cycle. For inscance, in act 2, scene 4 of Die Walkire, Siegmund tells Brinnhilde, “Wo Sieglinde Jebt in Lust und Leid, da will Siegmund auch siumen® {Wherever Sieglinde lives in joy or grief, there shall Siegmund also remain}. Again, in act 2, scene 3 of Siegfried, the Forest Bird declares, “Lustig im Leid sing’ ich von Liebe” [Gay in the midst of grief I sing of love]. There are many similar pas- sages throughout the Ring. Since Wagner was completing the text of his cycle at the same time that he was publishing his theoretical works, he used the Ring to pur the theories of Opera and Drama inco practice. For this reason, one use fal approach to the Réng would be to examine its text to see how Wagner linked specifi alliterations co specific ideas. Such an approach will also reveal that the composer viewed Stabreins as functioning similarly to musical leitmotifs.THEMATIC ROLE OF STABRBIM 61 “W”: The Theme of Nature ‘The first thematic use of Stabreim in che Ring appears in the very first line of the work: Weia! Waga! Woge, du Welle! Walle zur Wiege! Wegalaweia! Wallala weiala weia! Weial Waga! ([Weia! Waga! Billow, you waves! Waft to the cradle! Wagalaweia! Wallala weiala weia!] ‘As this passage makes clear, the Ring begins not so much with sense as with sound. Woglinde’s first urerances are not really speech at all. They are only the rudiments of speech, an amorphous repetition of syllables beginning in “w” that gradually assume meaning in the words that follow. WELLGUNDE: Woglinde, wachst du allein? [Woglinde, are you watching alone?] wociinpr: Mit Wellgunde wir’ ich zu zwei, (With you, Wellgunde, we'd be rwo.] wenrcunpe: Lass schn, wie du wachst. [Let's see how you watch.] woaLINDE: — Sicher vor dir. [Safe from you] FLOSSHILDE: Heiaha weia! Wildes Geschwister! ([Heiaha weia! Unruly sisters!] In keeping with Wagner's concept of the Gesamtkunstwerk [the total work of art], the sounds that these characters utter at the beginning of the cycle have a close parallel to the music heard in the opening, bars of the prelude, the speeta dle seen as the drama begins, and the story that unfolds in the course of Das Rheingold. In the music, a single, low E-flat becomes the basis for a broken chord (the E-flat triad). This chord, in and of itself, is often regarded as the “theme of nature” in the Ring. With slightly more elaboration, that same theme is thereafter associated with the river Rhine. In the music, therefore, a single- note “primal substance” becomes the theme of nature, which is then developed into the leit motif of one particular river. ‘There are 2 number of analogies to that development at the beginning ofthe cycle. Onstage, the initial darkness of the theater slowly yields to light, then to ‘motion, and then to the appearance of the Rhinemaidens. In the realm of ideas, the audience has witnessed 2 scene of creation: as in the music, ashapeless “pri- ‘mal substance” takes form as water, and water takes the form of a river. To cach of the audience’s senses, therefore, Wagner illustrates the same process of cre- ation: a progression from a single, formless jumble to a meaningful substance of great complexity. That is also precisely the way in which Wagner uses the repetition of “w” in the opening lines of the work. Meaningless sounds begin-62 JEPERRY L. BULLER ning with “w” become meaningful words beginning with “w” as the action of the drama proceeds. The complex set of associations that Wagner establishes in this opening scene recurns many times in the cycle. Whenever the audience hears an alteration in “w” or an arpeggiated E-flat chord, whenever it sees light arising out of the darkness or stillness gradually becoming motion, it will be reminded of this opening scene. Slightly later in the first scene of Das Rheingold, For example, Wogiinde notes that the “waking sun” [aie Weckerin] is smiling upon the sleeping gold, rous- ing it from its shumbers. All three of the Rhinemaidens bid the gold to awaken and play with them (#Wache! Freund, Wache froh! Wonnige Spicle spenden wir dic”). Wagner's return to alliterative “w” is intended to draw a parallel between the awakening of the gold and the awakening of creation that had occurred at the beginning of the cycle. Wellgunde asks whether the dwarf Alberich does not know of the gold that wakes and sleeps in turn (“Nichts weiss der Alp von des Goldes Auge, das wechscind wacht und schlaft?”), Ar the moment that these lines are spoken, Alberich must confess his ignorance, But Wellgunde’s revelation that the gold has power sets forces into motion that will affect the entire direction of the drama. ‘Wagner's use of “w” to suggest the awakening of nature continues in the sec- ond scene of Das Rheingold. The goddess Fricka awakens her husband, the high god Wotan, with these words: Wotan! Gemabl! Erwache! Envache, Mana, und ecwage! {Woran, my spouse, awake! Awake, husband, and think!) Still later, in scene 4 of Dar Rheingold, when the earth goddess Erda warns Wotan of the danger he is facing, she too awakens, half rising from the ground with the words Weiche, Woran, weiche! ... seb? ich auch: der ew’gen Welt Ur [Vield, Woran, yieta I know whatever was. Talso see whatever is and whatever will be: I, the primal mother of the eternal world ...] Just as Exda’s musical leitmotif (sec ex. 1) is an adaptation in duple meter of the nature motif (frst heard in triple meter: see ex. 2), 60 is the Srabreim of her speech a reflection of the sounds that were heard at the opening of the drama. Erda embodies the force of natural wisdom, and as such is always representedTHEMATIC ROLE OF STABREIM 63 Examples oon stage as though she were still halfimmersed in nature itself” Tes perhaps {or this reason thar the melody of her leitmotif and the sound of her words sug- gest themes that Wagner has associated with nature. In Die Walksire there isa yet another parallel between Wagner's thematic use of Stabreim and his musical leitmotifs. Frequently a musical theme will be intro- duced for the sake of dramatic irony, ro alert the audience to something a char- acter on stage does not know. For instance, Siegmund in act 1, scene 2 of Die Walkiire says that he lost his father (“den Vater fand ich nicht”), buc immedi- ately after these words are sung the orchestra plays the Valhalla motive. In this way, Wagner both reminds the audience of the identity of Siegmund’s father and tells them where he has gone.'* Similarly, Wagner provides a chue to the identity of Sicgrmund’s father in the alliteration of the text. Siegrnund mentions that his father was known as “Wolf [olf] and that Wehrlich und stark war Wolfe. Lange Jahre lebte der Junge mit Wolfe im wilden Wald. [Wolf was strong and warlike. ... For long years as 2 young man lived with Wolfin the wild woods.] In act1, scene 3, Sieglinde reveals that, at her wedding years before, a stranger had thrust a sword into an ash tree, Thac tree stil stands in the very hall where Siegmund has come for refuge. At first, Sieglinde did not recognize the stranger but she soon knew it to be her father, Walse, in disguise. She tells Siegmund of64 JERFREY b. BULLER her discovery with the words “Da puss? ich, wer der war” [Then I knew who he was}. Similarly, in act 1, scene 2 of Siegfried, Mime asks the Wanderer his identity. The very way in which Mime phrases this question suggests its own answer: the Wanderer is Woran in disguise, though Mime does not recognize him. Weer ist’, der im wilden Walde mich sucht? [Who is it that searches for me in the wild woods?] Wotan, Wolfe, Wilse, der Wanderer: all of the names that the supreme god assumes in the Ring bind him inexorably to the forces of nature. Though Wotan may try to deceive these forces through his plans to regain the ring, he is inevitably doomed to failure. The central lesson that Woran must learn in the ‘ele is that not even his will can be set in opposition to nature's law. By con- ‘tinually surrounding Wotan with words and titles that suggest the nature theme, Wagner reveals to his audience the type of wisdom Wotan must gain. Not incidentally, that same use of Seaéreim also links Wotan’s name to that of Wagner. Confirming what he had once said in a famous letter to August ‘Réckel,!9 Wagner believed that Woran stands for us and “resembles us toa hair” The truths that he must learn are those that face all humanity. Siegmund’s own link to Wotan and his heritage is revealed by the name that he assumes when he tells his story to Hunding: “Wehwalc” [Woeful] 2° Like father, like son: both reveal their lineage through the titles they invent for them- selves. Ina similar fashion, Woran’s daughter Briinahilde suggests through allt- eration that she is also a member of this family. In act2, scene 2 of Die Walksire Brinnhilde says, Za Worans Willen sprichst du, sagst du mir, was du wills; wer bin ich, war ich dein Wille nicht? [Nou are speaking to Wotan’s will ‘when you tell me what you want. Who am 1 ifnot your will?2!] Later in the same scene, Wotan refers to Erda —not only “Mother Nature? but Brdnnhilde’s mother, it must be remembered —as “the world’s wisest woman” [der Wels weisestes We1b]. And, to remind the audience that Siegfried will also bbe a member of this family, his arrival is foreshadowed in the final scene of Diz Walkie with the words ‘Wer so die Wehrlose weckt, dem ward, erwacht, sie zum Weib! [Defenseless, you will be the wife of whoever wakes you!) ‘This association between nature and the descendants of Wotan returns in act 1, scene 2 of Siegfried when Mime retells the history of this family:THEMATIC ROLE OF STABREIM 75 usefulness of Sabreim, [Wagner] fel, i that ieallows the poet to establish relationships ‘berveen particular words and concepts simply chrough the way words sound, Verse ‘writen in Stabrein is thus similar to osc. "The remainder of Corse’ discussion makes i dear, hrrever, that she has in mind irc ssilanites between Stabrei and ‘music, not parallels berween alliteration and lero. "4. William Athton lis, wane, Wert Prat Wark, vol. 3 (New York: Broude Brothers, 2966), p27 's. Open end Drama Elis anslation, 1.201 Sce also Stein, Wager and ite Synthesis of the Ars, pp. 787 xs. See David A. Whit, Te Tarsing Wheel (London: Asociated University Presses, 1988), ps6 17. See Wagner own sage directions at this point of the drama: “An der Fell ear ‘Se bic en liber Schein erent sid lids Ela sib, cbs whaler eishike ans der Tie anit? (At onesie ofthe sage, «blush ight shines forh rom & Gleftin the rock. Suddenly Eda appear, ‘ing from the depths to half her eight} 18, Other eeampls of dramatic irony are common throughout the Ring. For instance, inact, scene 2 of Sid, the Wanderer tues the melody of te "Siegfried theme” in posing his chied question to Mime; as a result tof ths device the audience knews, though “Mime docs aot, that Sieped” i the comrex. anawer to the question. 1g, Dated 25 Janay 854, and discusied by Cockein I Sew th Weld End, p. 266 20, Thi ecomes especially sparencin che following ines, spcken by Siegmnd in Die Walkie acc, scone 2: “che ich nach Wonne, week ich nur Weh: /drum muss? ich mich Wehwaleneanen;/ des Wehes trae ich noc” (IF coughs joy, Lsrouzed conly woe, / Thus must Ibe called Weil, am filled only with woe.) 3. CE Wotan’ reference to Bruinailde (in Sigh ct, ene |) with these words v0 Enda “Wachend winks dein wisendes Kind cxlOsende Welrneat” [Waking dhe child oF your wisdom wl perform a ded that will redeem the wor] 23. On the historical use of Stab in family name, sce Waterman, His of the Gorman Langage 23 2 Real that ese groups of charters are aso frequent sido late che Hung nnnediney noses the siarey berwoen Segurun! and Segire; Punk and Falne re mom alwys depicted onstage a8 tare distinguish 24, Arcor Schopenhauer, Pree and Paina, tans, by BF J Payne, volt (Orford: Cerendon Pres 974), PE. 27-309. On the inden ofthese deat 'pon Wagner, so Rober W. Guoran, Richad Wagner, p. 204 2s. TFicappers ange tac the hinemaider ke Eid, should be refered toas ise women? compar Brinley reference to these thie sere a “Dee ‘assert wee Schueern” during the immoationseene with Wears decrpton of rc a der Welt wesstes Wei ina, sane ofS 26. The bss appears in Gainer ts, scone Siglo, of eure, docs noe now tha the Norn? thread of fe has aleadybeen tom. 17 Examples ofthis theme incade: Das Ring, scene, Albech temps core the Rhinemaicens Hehe! Ihr Nike! Wie tei riedich,nediches Volk! ‘Aus Nibelheim Noche nah ich mich gm, ips itacch aon {He You nymphs! Whatalorey, desiable group you ae! Ta gad come op fiom the carknes of Nibelheim ifonly youd corn down co me! Fora discussion of Wagner use of Stren inthe above passage, sce LJ Rather, Reading Wagner: A Study in the History of Ideas (Baton. Rouge: Louisiane Stare University Press, 1990) BP. 49£0. ‘Das Rhringold,xeene , Alberich ties out the magic of the Taran: “Wiblungen al, ‘acigr euch nun Alberich™ [All you ‘Nibelungs, now bow down co Albesich ‘Das Rheingold, scene 5, Alberich does not ‘must Wotan: “Nach Nibelheim fit euch der ‘Neid” (Envy led you to Nibelheim).76 JEFFREY 4b RULLER Das Ricingal, scene 3, Loge test rick _Alberch: “So neidlichen sah ich noch nic® [1 fever saw anyone to enviable ‘Die Walkie, 2c, ene 3, Siegrnund names the sword: “Nothung! Nothung! So rnean ich dich, Schwert / Nothing! ‘Nochung! neler Stahl (Neel! Necdfill1 name you, sword! / Needful! Needful! Glorious sal!) Die Walkie, act , seen 2, Woran referst0 Alberch’s unrest: “Mit aedichem Grima golle mir der Niblang” [With envy and anger the Nibelang bears his grudge against me} ‘Siegred ct, sene , Mime reves dat \Nochung alone can heip him win the ring: ‘Mur Nothong ait: meigcon Nei” (Only Nochung serves my envy] Steed act, sene Mime says that seed nt enough ro repair Nothung: Des 2Sibhungen Neid, / Noc und Schweis pect mir Nothwag nicht” (A Nibelung’s-envy, / need and sweat will ne rivet Norhung, together for me] Stef act 1,200 3,00 three separate coccasions, Segfied call ou the sume words to Nothang during his “forging songs": “Nochung! Nothang! Neidicbes Schwerd™ {Needfal! Nerdfall Foviable sword] Siege, act 3, scene 3, Alberich refises 1 share any ofthe gold with Mime: “Nich ‘yon aller! Nich einen Nagel soll du dir chen!” [Nothing stall! / Nota nai shall you nie]. Gorerdanmnerung, prologue, te Second ‘Nom reel the sory of the gold: “Aus Nor ugg Neid cag mie des Nislongen Ring™ [From need and envy / arose the ring ofthe Nibelung} 28, Examples ofthis theme include: ‘Das Ringold, scene, Alberich warms ‘Woran about seizing the ring: Des Unseligen, Angstverehiren fhuchferige, furchebare Tet, zu ficsichem Tand soll sie robich die auger, zur Erease dis rommea mein Ehch? Erovelee ich, 9 fsa? ich cian mix. (Must rhe curse aden, frightful deed cof one who is unlucky and fearidden seve your pleasure 84 princely roy, penmising you t laugh a ny curse)... JET did wrong, I wronged only myself] ‘Das Rheingold, scene 4, Wotan is shocked by che murder of Faso: "Euchrbar nun crfind ich des Buches Kei” (1 find the curs’ power fright) Die Walkie, at, scene 2, Woran relives thar he cannct sve Sigmund: In ciger Fes fing ch mich, ich Unfciester alle?” [find majelf in Fercers har I devised mysel, [the least ee ofall. ‘Die Walkin, ac, scene 2, Woran explains his derision ro rinnhilde: “Der rach, den ich fb, / sich fiche er nun mich® [The cure ‘ha Te / sill has noe left me) Seafred, act, scene 1, she Wanderer ells rds that he wil yield tothe euse:“Froh nd freudig fee frei ch nun aus” [Now T shall doi ey, wilinaly and happily} 29, Examples ofthis theme include: Die Walbie, at 1, scene 2, Funding wams Siegraund co weat his home with respect “Flag ist mein Herd. / eligi ir mein Haus!” [My hearth is sacred. / Let my howe be sacred to you, ro0!} Die Waihi, act, sone 3, Sielinde wams Siegmand of Hunding’s approach: “Horch! dle Hiner, birt do den Rat? Horch, 0 bhorch! Das xt Hundings Hoe (Lien! The hhoms! Do you bear the cll... / Listen! Listen! Thaes Hunding’ bom!) Stef, act, scene |, Mime tells Siegfried how he found Sieglince: “Zur Hohle bale ihrer, arm warren Her sie ma hiren” [1 helped he inco the eve, 0 watch over her bythe warm heath 130. For instance, this is what occur in the “toad formu? (“Krum und grew hrieche Kote”: Dar Rheingold, scene 3) which aso leads to a musieal theme heard only i thi ppasage and thus technically at a eimorit 31. See Aristo, Pees, 14509.