Title, El anillo de los nibelungos, cuarta parte. Volume 76 of Fabulandia: mitos y leyendas. Author, Richard Wagner. Publisher, Codex, Length, 16 pages. Richard Wagner. G.P., – 64 pages QR code for El anillo de los Nibelungos. Title, El anillo de los Nibelungos. Author, Richard Wagner. Publisher , G.P. Get this from a library! El anillo de los nibelungos, tercera parte. [Richard Wagner ].
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Richard Wagner’s vast Der Ring des Nibelungen cycle comprises four full-length operas Das Rheingold, Die Walkure, Siegfried and Gotterdammerung and is arguably the most extraordinary achievement in the history of opera.
His own libretto to the operas, translated by Andrew Porter, is an intricate system of metric patterns, imaginative metaphors and alliteration, combining Richard Wagner’s vast Der Ring des Nibelungen cycle comprises four full-length operas Das Rheingold, Die Walkure, Siegfried and Gotterdammerung and is arguably the most extraordinary achievement in the history of opera.
His own libretto to the operas, translated by Andrew Porter, is an intricate system of metric patterns, imaginative metaphors and alliteration, combining to produce the music in text.
The immediacy of instant comprehension gives the entire drama an added dimension. Paperbackpages. Published August 17th by W. Norton Company first published Wagner’s Ring of the Nibelung. To see what your friends thought of this book, please sign up. To ask other readers questions about The Ring of the Nibelungplease sign up. Wagner’s opera or a book from which he formed the opera. If so, which book or what book covers the story that he used?
See 1 question about The Ring of the Nibelung…. Lists with This Book. Jun 20, David Withun rated it really liked it Shelves: I read followed along in this translation of the libretto while watching video of Robert Lepage’s production of the four operas of the Ring cycle at the Metropolitan Opera.
It was, to be brief, a tremendous experience. The operas themselves are a remarkable achievement — in terms of music, story, and, in Lepage’s version, visual affect as well. To confine my comments here to only wagjer particular translation: I am quite impressed. The on-screen translation provided on the Met’s website I read followed along in this translation of the libretto while watching video of Robert Lepage’s production of the four operas of the Ring cycle at the Metropolitan Opera.
The on-screen nibelunyos provided on the Met’s website did not do nearly as well in either meaning or poetic quality. The original German is provided alongside the English translation as well, which is quite helpful when following along or for purposes of comparison. While the story is good enough niibelungos be anullo, I cannot recommend strongly enough watching these operas anil,o well. Sep 20, Robert Sheppard rated it it was amazing Shelves: Tolkien’s “The Lord of the Rings” is one of the most beloved fantasy epics of modern World Literature, celebrated in the film adaptaion of Peter Jackson, read and re-read by devotees from childhood to old age, bringing to life through its magic not only the creation of the epic imagined world of “Middle Earth” inhabited by such immortal characters as Gandalf, Frodo, Bilbo, Sauron and Aragorn, but also a complete alternative history and spiritual cosmology of the universe.
I enjoyed reading all of Tolkien’s works immensely as well as re-experiencing them in film, and have always felt in the presence of greatness with his works. But that grand creation was not made from the whole cloth of Tolkien’s pure imagination alone but rather built upon a great tradition derived from World Literature, most notably drawing upon the “Ring of the Nibelungen” Der Ring des Nibelungen or Ring Cycle operas of Richard Wagner, as well as the many forerunners Tolkien himself studied and taught ss a Professor of Anglo-Saxon literature at Oxford, such as the Norse and early Germanic “Prose Edda,” the “Volsunga Saga” and the “Nibelungenlied.
Anexo:Personajes de El anillo del nibelungo
This unfair accusation ignores the reality richhard all great writers build upon a “Great Tradition” as referred to by T. Eliot which is bequeathed with generosity to them to freely utilize and adapt as the common heritage of mankind freely invested in its own future development.
Horace in his “Ars Poetica” Art of Poetry boasted that he often “stole” working materials from the classics, qualified by his mitigating insistence on exercising the anillk taste to nibelingos only from the best. Jung also as the common anlilo capital of humanity. Indeed the Wagnsr itself, a most plundered source of borrowings, counsels us to judge value by the fruits of the borrowing rather than by mere roots and fertilizing: Tolkien himself, questioned on the similarity, said “The two Rings have in common that they are both round, and beyond that they are completely different.
First, the central quest and plot device of a struggle over a Ring of Power, capable of conferring on its bearer mastery of the world, but also bearing a curse of corruption and self-destruction necessitating its removal from the world gives to both works a common central dynamic. Tolkien, who once undertook a common project with C. Lewis, author of the Narnia Saga, to translate Wagner’s Ring Cycle together, was intimately aware of Wagner’s narrative, along with the sources from which Wagner himself borrowed, such as the Jibelungos and the Norse Volsunga Saga.
Secondly, from Wagner Tolkien also took as models anilpo sources of inspiration several other key elements of the Hobbit cycle, including outlines of some of of the key jibelungos. In Wagner’s Nibelungen Ring perhaps the most central character is a dwarf who initially possesses the Ring of Power, Alberich. Alberich initially creates the Ring of Power in the first opera, “The Rhinegold” Das Rheingold from enchanted gold stolen from the river-spirit Rhinemaidens, rixhard he is able to do only after renouncing all love, which he does after the beautiful Rhinemaidens spurn his love, berating his ugliness and smallness.
Fafner kills his brother Fasolt over the Ring, and then transforms himself into a dragon to keep watch over it. Thereafter, both the dwarf Alberich and Wotan struggle and plot over decades qnillo recover the lost precious Ring, Alberich exhibiting many of the characteristics of Gollum in Tolkien’s saga in his obsession with it. In Wagner as in Tokien the fate of the Ring is also tied nibelugos a looming Apocalypse as its destruction will also usher in a New Age on earth and the departure of the gods or other celestial agents such as the elves or Valkyrie.
Both works are populated by an analogous heirarchy of beings or races: In Wagner as in Tokien diverse parties plot to get possession of the Ring, such as Alberich’s brother the dwarf Mime, who raises Sigfried, the product of the incestuous union of Siegmund and Sieglinde in the second opera “The Valkyie,” Wotan’s grandchild, who will have the power to recover the Ring.
Siegfried, like Aragorn, must search for his ancestry and repair the broken sword of his forefathers, Nothing, to complete his quest. In both sagas an immortal female being is transformed into a mortal who will die alongside her lover, namely Arwen who choses mortal life and marriage ricyard Aragorn, and Brunhilde, the lover of Siegfried.
Both sagas end with the destruction of the Ring, which in turn ushers a New Age and the departure of the gods or spirits of the old order. An “epic” as a genre may be defined as a narrative in verse, prose or other form which includes extensive history such as to define the character or destiny of a nation, people even humanity as a whole.
Tolkien’s classic famously extends for several thousand nieblungos, from the “First Age” to the “Fourth Age” which commences at its conclusion, covers at least three generatiions of its waagner and defines the formation or reconstituion of a nation, the united Kingdom under Aragorn, and its relationship with “the divine” or supernatural powers–elves, Valar, and evil forces such as Sauron and Morgoth, and with the natural environment.
Der Ring des Nibelungen – Wikipedia
Their sagas concern not only their protagonists wagnner even their peoples, but the entire condition of the world and the conditions of its physical and spiritual continuation, regeneration and renewal. Parenthetically, I also include my own work, the contemporary and futurist epic “Spiritus Mundi” in the epic genre as it spans in its backstory the history of the Sartorius family from the ‘s to the present and, through time travel, the history of the human race into the 23rd Century in the wake of the founding of the United Nations Parliamentary Assembly in our own wager, and defines the character inbelungos the emerging “people of the world” newly and necessarily united in our globalized age, including their relationship with the cosmos and the divine.
Jung and others are universal archaic patterns and images that derive from the collective unconscious and are the psychic counterpart of instinct. They are autonomous and hidden forms which are transformed once they enter consciousness and are given particular expression by wsgner and their cultures but exist independently of them as part of our genetic and instinctual heritage.
Common examples in literature are the archetypal figures of the Mother, Trickster, Magician, Warrior, King and Devil, or situational archetypes such as the Quest, the Flood, the Fall, Re-birth and Transformation or Apocalypse. Importantly, an archetype is not just a symbol or image in the abstract, but rather a concrete living force within the mind, sometimes referred to as a “complex,” which acts as a source of energy or intensity around nibelubgos archetypal nucleus and which may drain or augment energy from or to the Ego, and which may exist in either the personal unconscious of an individual, the collective unconscious of the whole human race, or both.
The operation and experience of the archetypes, both in their nibelungoss or symbolic form and within the psyche of the protagonist or the reader serve to catalyze psychic growth leading to greater awareness and greater psychic wholleness, maturity and health, and a resultant enhanced capacity for life in the world. Jung and other archetypal critics such as Joseph Campbell in his “Hero Rihcard a Thousand Faces” is that of the hero’s quest. In this archetype, the hero is required to undertake a perilous journey into an unknnown and dangerous realm to accomplish some task of vital importance during which he will be tested and if successful will bring back some vital boon to the world of his origin.
The stages of the hero’s journey typically include: In the first stage of Departure the Black Horsemen forcibly expel him from the safe haven of the Shire, a world of innocence, protected child-like existence, harmony and oneness with nature. At Rivendell he is initiated into a larger community of his fellow Questors, who must struggle against a Nemesis, the predatory Sauron and his evil allies and underlings.
His journey to both the Mines of Moria and to the evil realm of Mordor challenges not only his physical and external survival and strength but also his inner resolve and willingness to rise to the duty of the quest. In the final chapters after the Ring’s destruction, especially the chapter “The Scouring of the Shire,” Frodo and his companions must return to the world of his origins bearing the strengths obtained by means of the Quest.
Thus Frodo on his return, along wagnef Merry, Pippin and Sam are no longer the passive child-like beings of their innocent youth and their world is ruchard longer an Edenic paradise, but they must confront its evils with adult and active powers derived from their growth during the Quest.
In Wagner’s Ring Cycle there is little growth of self and insight in the Jungian sense on the part of the hero Siegfried. His quest is defined as “to discover what fear is” in a supposedly fearless heroic self. However Siegfried fails to discover this fear or any measure of inner insight and is led to destruction.
It is more the character of Wotan who attains some measure of insight in his unsuccessful quest for the Ring, leading ultimately to his acceptance of his fate of death and downfall of the gods. In Jung’s concept of the archetype of “The Shadow” such a figure often represents the negative unconscious dimensions of the Self which have been repressed and remain unintegrated within the psyche.
Frodo to our eyes and his own appears to be an exemplary character full of idealism, selflessness, courage and love for others. But this benign view ignores what we suspect lies in all human hearts, the capacity for selfishness, love of power, possession and self-importance which are suspiciously absent from nibwlungos apparant conscious self.
Thus until Frodo confronts his own capacity for selfishness and potential evil and tames and overcomes it his steps will be dogged by a demonized being who represents these negative capacities: Gollum is craven, selfish, violent and obsessed njbelungos his own possession of the Ring and its power.
He follows Frodo as closely as Frodo’s own shadow, and indeeds comes to represent an alter ego, or a Dr. Hyde “Doppelganger” repressed other self. Notably, in terms of Frodo himself alone, he finally fails in his Quest nnibelungos at the critical moment within Mr.
Doom he refuses to throw the Ring into the feiry abyss. In a sense he never really recognized that selfish capacity within himself until too late. It is only by the “accident” of Gollum biting off his finger with the Ring on it and slipping into the fire that the Quest is accomplishd, along with the loyal aid of Frodo’s more quotidian alter ego, Sam. Thus Frodo as a discrete conscious self balks and fails in the quest, but his extended “composite self” symbolically evolved through growth, experience and and amalgamating his alter egos Gollum and Sam jointly accomplish the Quest almost in spite of Frodo’s conscious self, nobelungos it is only the fully integrated “greater self” that is capable of fulfilling its mission and promise.
The quest is thus ironically accomplished “by accident,” but this uncanny accident proves to be no mere accident at all, but the fulfillment of deeper psychic laws and destinies.
The anima may also bear a negative shape where this complementary relationship is perverted or obstructed. In the female psyche of a woman, the male complementary “other half” of the conscious self most often takes some masculine shape and face, termed by Jung her “Animus,” the masculine counterpart to the feminine Anima. In the Lord of the Rings a powerful “Anima” figure is that of the beautiful elfen queen Galadriel.
El anillo de los Nibelungos – Richard Wagner – Google Books
Notably, Galadriel posseses a magic mirror into which each person looks and sees some aspect of themselves and their destiny. Thus confrontation of the Anima forces the self to a deeper consideration of the male ricard, revealing hidden or repressed mysteries.
For example, the presence of Galadriel leads Gimli the dwarf to realize that possession of wealth and riches, his prior obsession, was less valuable than love and beauty. Another powerful anima figure is that of Arwen, the elven princess and daughter of Elron who is the eternal guide of the heart for Aragorn on his quest.
Notably she represents the immortality of the spirit which through love chooses to live and die alongside her beloved mortal man and mate, an idealized feminine virtue. Their tale is anilli of growth to a greater maturity through encounters with such archetypal male figures of Aragorn, first a Warrior and then a King, Gandalf ell Wizard-Magician and the array of deloa warriors and allies who lead them to greater powers and maturity in the face of a hostile world.
The Warrior archetype is a destroyer of enemies and bears strength and power.