You can buy Collin Cleary’s Wagner’s Ring & the Germanic Tradition here.

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Collin Cleary
Wagner’s Ring and the Germanic Tradition
Wagnerphile Books, 2021

Richard Wagner is a cornerstone of Western culture. He is one of the few composers that still receive mainstream attention in the 21st century, but usually for negative reasons. Hacks can’t resist the temptation to bash him for his alleged proto-Nazism and anti-Semitism. Even if critics see him as a predecessor to Hitler, many of them still enjoy his music. Few doubt he was a great musician. (more…)

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All installments of this series available here

It has been some time since I have published an installment in this series (the last, in fact, was in November 2019). After more than a year of research and reflection, I am ready to return to the story of Sigurd, Fafnir’s Bane. (more…)

Sigurd and the dwarf Regin forge a sword, from the portal of the stave church of Hylestad, Setesdal, Norway c. 1200.

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Part I here, Part XI here

In our last installment, we saw how Queen Hjordis, pregnant with Sigurd, is taken in by King Alf, son of King Hjalprek of Denmark. Before his death, Sigmund had prophesied that his son “will become the greatest and most famous of our family.” Sigmund also entrusts to Hjordis the fragments of his sword, broken by Odin. “Take good care also of my sword’s fragments,” Sigmund tells her. “A good sword can be made from them, which will be called Gram, and our son will carry that sword and do many great things with it which will never be forgotten. (more…)

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Richard Wagner (1813-1883) was the most influential composer of the nineteenth century and one of the most influential composers in the history of Western art music. (more…)

A carving depicting Sigurd sucking the dragon’s blood off his thumb, from a stave church in Setesdal, Norway.

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Part II here

The purpose of this essay is to offer an account of the hidden meaning of the Volsung Saga (Völsunga saga). In drawing out this meaning, I will approach the saga from a Traditionalist standpoint, broadly speaking; i.e., from the standpoint of Guénon and Evola. I will touch on some details concerning the relation of the saga to other sources, but I do not aim to provide anything like the sort of account a historian or philologist might give. (more…)

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Seeing an opera production these days, if you’re anything even approximating a small-t traditionalist, is always a risky business. When the guardians of Western culture – who actually hate Western culture, or at least what it was until recently – want to change literature, painting, television, or film to suit whatever agenda they’re pursuing at the time, it’s a relatively simple matter: they simply create new works in new styles. (more…)

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Part 8 of 8

Gelassenheit

We can say that the plot of the Ring is simply this: Western man, in the person of Wotan, finally awakens to the destructiveness of his thumotic nature, and wills his own end. (See my review of Duchesne’s Uniqueness of Western Civilization for a discussion of how Western man is preeminently thumotic man.) (more…)

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Part 7 of 8

Siegfried

If Wotan is the main character of the Ring, Siegfried is its hero. However, in dealing with the character of Siegfried we do not depart from our discussion of Wotan at all. This is because Siegfried, like many of the other characters in the Ring, is a kind of hypostatization of an aspect of Wotan himself.  (more…)

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Part 6 of 8

Das Rheingold

When the events of Das Rheingold begin, the Wotan-Loge relationship is already well-established, and the primeval crimes described earlier are long past. However, the opera begins with yet another crime against nature: Alberich’s theft of the Rhinegold. (more…)

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Part 5 of 8

The story of the Ring involves four ages, similar to those taught in Tradition.

The Age of Titans is the period represented by figures somehow more primordial than the gods: Erda, the Norns, and possibly the Rhine daughters. Events in this age are not depicted in the Ring; they are merely referred to (primarily in Götterdämmerung).

(more…)

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Part 4 of 8

Wotan and the Faustian West

As noted in the Introduction to this essay, at the time of the Ring’s conception Wagner was an anarchist revolutionary. Major influences on his thinking included Bakunin, Feuerbach, Hegel, and possibly Marx (though of these only Bakunin was an anarchist). (more…)

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Part 3 of 8

Wagner’s Use of Sources for the Ring

As a brief summary of how Wagner makes use of the major sources discussed in section three above, I don’t think one could do any better than this paragraph from an article by Elizabeth Magee:

Looking back, we can see how the Eddas supplied most of Das Rheingold, (more…)

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Part 2 of 8

The Story of Der Ring des Nibelungen

For the uninitiated, I will now tell the story of the Ring, confining myself to essentials. Even the initiated would do well to read this summary, just to re-familiarize themselves with the story, as the account of Wagner’s use of the source material to follow will presuppose that one is well-acquainted with the events of all four operas. (more…)

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Part 1 of 8

1. Introduction

Richard Wagner is the man principally responsible for keeping the Germanic mythological tradition alive in the modern world. Countless individuals have been exposed to that tradition through Wagner’s Der Ring des Nibelungen, and it is safe to say that at any given moment somewhere in the world some portion of the Ring is being played or performed. (more…)