Wagner's 'Ring' and Its Symbols by Robert DoningtonReview by: Edward KravittNotes, Second Series, Vol. 21, No. 1/2 (Winter, 1963 - Spring, 1964), pp. 127-128Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894840 .

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as if it were Mersenne himself. Having made an attempt to find out who it could be, the reviewer concluded that it is probably not the handwriting of Rameau, although it resembles his more than anyone else's. We hope the present owner of the copy will make some at- tempt to pursue the matter.)

The publication of this copy, then, has already had a salutary effect by making

as if it were Mersenne himself. Having made an attempt to find out who it could be, the reviewer concluded that it is probably not the handwriting of Rameau, although it resembles his more than anyone else's. We hope the present owner of the copy will make some at- tempt to pursue the matter.)

The publication of this copy, then, has already had a salutary effect by making

someone suspicious. Besides this, its very availability generally to libraries and the wealthier scholars is a great boon. What more could one ask and what more, aside from stating that it comes with the usual perfunctory introduction, this time by Francois Lesure, can a reviewer say about a facsimile?

HANS LENNEBERG

someone suspicious. Besides this, its very availability generally to libraries and the wealthier scholars is a great boon. What more could one ask and what more, aside from stating that it comes with the usual perfunctory introduction, this time by Francois Lesure, can a reviewer say about a facsimile?

HANS LENNEBERG

Wagner's 'Ring' and Its Symbols. By Robert Donington. New York: St. Martin's Press, 1963. [325 p., music, bibl., 8vo; $10.00] Wagner's 'Ring' and Its Symbols. By Robert Donington. New York: St. Martin's Press, 1963. [325 p., music, bibl., 8vo; $10.00]

The publication of yet another inter- pretation of Wagner's Ring reminds one of Montaigne's oft quoted thought: "more books upon books [are being writ- ten] than upon any other subject; we do nothing but comment upon each other." That the Ring has been subjected to many commentaries is no surprise. As a myth of a world order and of its even- tual destruction, it attracted commenta- tors who saw it as an allegory for Fabian Socialism, National Socialism, and what not!

Robert Donington's interpretation of the giant cycle is nonetheless provocative. He analyzes the Ring in terms of the psychology of Jung. Thus, each charac- ter, object, and situation is regarded as a symbol. And each is interpreted ac- cording to its deep psychological implica- tions. "The ring," the central source of contention, Donington interprets, "is a circle [which] . . . in mythology, the- ology, alchemy, dreams, and even musical notation, . . . stands for perfection. Since no human being is perfect, the perfection refers not to ego or any other component, but to the totality which at the same time includes all aspects of the psyche and is its guiding principle; i.e., to the archetype of the self." (p. 92)

In studying such psychological con- cepts, the reader finds himself concen- trating upon an area far afield from Wagner's greatness-the musico-dramatic aspect of the Ring. References to the music are limited to a brief discussion of the leitmotifs. But this is not a short- coming of the book. For the author indicates that Deryk Cooke is working on a musical analysis that should serve as a

The publication of yet another inter- pretation of Wagner's Ring reminds one of Montaigne's oft quoted thought: "more books upon books [are being writ- ten] than upon any other subject; we do nothing but comment upon each other." That the Ring has been subjected to many commentaries is no surprise. As a myth of a world order and of its even- tual destruction, it attracted commenta- tors who saw it as an allegory for Fabian Socialism, National Socialism, and what not!

Robert Donington's interpretation of the giant cycle is nonetheless provocative. He analyzes the Ring in terms of the psychology of Jung. Thus, each charac- ter, object, and situation is regarded as a symbol. And each is interpreted ac- cording to its deep psychological implica- tions. "The ring," the central source of contention, Donington interprets, "is a circle [which] . . . in mythology, the- ology, alchemy, dreams, and even musical notation, . . . stands for perfection. Since no human being is perfect, the perfection refers not to ego or any other component, but to the totality which at the same time includes all aspects of the psyche and is its guiding principle; i.e., to the archetype of the self." (p. 92)

In studying such psychological con- cepts, the reader finds himself concen- trating upon an area far afield from Wagner's greatness-the musico-dramatic aspect of the Ring. References to the music are limited to a brief discussion of the leitmotifs. But this is not a short- coming of the book. For the author indicates that Deryk Cooke is working on a musical analysis that should serve as a

companion book. Furthermore, a psycho- logical analysis of the Ring certainly has a place among the thousands of books on Wagner.

A more serious objection arises in connection with Donington's thesis con- cerning the immutability of archetypes. He shows, with impressive scholarship, how they recapitulate during giant peri- ods of history and reappear in the Ring. But in studying the immutable, Doning- ton should not have overlooked the mutable, particularly the fundamental change that occurred in Wagner during the period when he created the Ring. In the years of its conception, Wagner was a rebel, later a fugitive, in one great emotional and economic crisis after an- other, and only at the threshold of his music of the future. But when he com- pleted Die Goetterdaemmerung, 26 years later, Wagner had undergone a transfor- mation in his politics and in his financial and psychological well being. Further- more he had modified his concepts in art and his conception in the Ring. Since Donington's analysis does not reflect these changes, how can it provide the intimate understanding of the psychology of Wagner and his Ring to which its author lays claim?

Donington's interpretations vary from being imaginative, revealing, and provoc- ative to being farfetched, obscure, and arbitrary. To challenge them by singling out a half dozen for criticism would be fallacious. A multitude would remain. They should be tested for, among other qualities, their consistency with Jung's thinking. An interesting test case con- cerns the manner in which both men

companion book. Furthermore, a psycho- logical analysis of the Ring certainly has a place among the thousands of books on Wagner.

A more serious objection arises in connection with Donington's thesis con- cerning the immutability of archetypes. He shows, with impressive scholarship, how they recapitulate during giant peri- ods of history and reappear in the Ring. But in studying the immutable, Doning- ton should not have overlooked the mutable, particularly the fundamental change that occurred in Wagner during the period when he created the Ring. In the years of its conception, Wagner was a rebel, later a fugitive, in one great emotional and economic crisis after an- other, and only at the threshold of his music of the future. But when he com- pleted Die Goetterdaemmerung, 26 years later, Wagner had undergone a transfor- mation in his politics and in his financial and psychological well being. Further- more he had modified his concepts in art and his conception in the Ring. Since Donington's analysis does not reflect these changes, how can it provide the intimate understanding of the psychology of Wagner and his Ring to which its author lays claim?

Donington's interpretations vary from being imaginative, revealing, and provoc- ative to being farfetched, obscure, and arbitrary. To challenge them by singling out a half dozen for criticism would be fallacious. A multitude would remain. They should be tested for, among other qualities, their consistency with Jung's thinking. An interesting test case con- cerns the manner in which both men

127 127

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interpret the Tarnhelm. According to our disciple of Jung, the Tarnhelm is a "symbol of unconscious fantasy .... [It] reminds us of various cloaks or helmets of invisibility.... As invisibility, it is one of the symptoms of a schizoid inclination . . ." [p. 94] But the master, in his Psychology of the Unconscious (Dodd, Mead and Company, 1957), com- ments [p. 397]: "By means of the magic cap [Tarnhelm] one can vanish and assume different shapes. The vanishing probably refers to dying and to the invisi- ble presence; that is, existence in the mother's womb. A luck-bring cap, am- niotic covering, the new-born child wears over his head (the caul)."

The fact that the master and his disci- ple disagree upon this small point is of no great importance. But the fact that symbols can lend themselves to various interpretations reveals a limitation of

interpret the Tarnhelm. According to our disciple of Jung, the Tarnhelm is a "symbol of unconscious fantasy .... [It] reminds us of various cloaks or helmets of invisibility.... As invisibility, it is one of the symptoms of a schizoid inclination . . ." [p. 94] But the master, in his Psychology of the Unconscious (Dodd, Mead and Company, 1957), com- ments [p. 397]: "By means of the magic cap [Tarnhelm] one can vanish and assume different shapes. The vanishing probably refers to dying and to the invisi- ble presence; that is, existence in the mother's womb. A luck-bring cap, am- niotic covering, the new-born child wears over his head (the caul)."

The fact that the master and his disci- ple disagree upon this small point is of no great importance. But the fact that symbols can lend themselves to various interpretations reveals a limitation of

Donington's contribution: If Jungians can disagree would not psychologists from different schools be expected each to present divergent views of the Ring? Seen in this light, Donington's thesis represents one of several possible psy- chological interpretations of the Ring. And among all the other kinds of com- mentaries on the giant cycle, it is only one, but not, as its author asserts neces- sarily, the ultimate one.

In the final analysis, the reader will probably give credence to Donington's thesis in accordance with his own orien- tation. Those uninterested in interpreta- tions in general, particularly in psycho- logical ones, will probably respond to his with indifference. At any rate, the thesis is worth becoming acquainted with. The experience of seriously refuting or sup- porting it is challenging.

EDWARD KRAVITT

Donington's contribution: If Jungians can disagree would not psychologists from different schools be expected each to present divergent views of the Ring? Seen in this light, Donington's thesis represents one of several possible psy- chological interpretations of the Ring. And among all the other kinds of com- mentaries on the giant cycle, it is only one, but not, as its author asserts neces- sarily, the ultimate one.

In the final analysis, the reader will probably give credence to Donington's thesis in accordance with his own orien- tation. Those uninterested in interpreta- tions in general, particularly in psycho- logical ones, will probably respond to his with indifference. At any rate, the thesis is worth becoming acquainted with. The experience of seriously refuting or sup- porting it is challenging.

EDWARD KRAVITT

Muzicka Enciklopedija (Encyclopedia of Music). Josip Andreis, Editor-in-Chief. Zagreb: The Lexicographic Institute of Yugoslavia. [Vol. 1: A-J, 760 p. (1958). Vol. 2: K-Z, 855 p. (1963); $10.00 per volume]

Specialists, including reference and 4 in Sarajevo, Bosnia, 3 in Cetinje, Mon- musical librarians familiar with the first tenegro, and 3 in other cities. volume of the Encyclopedia of Music, The print is easily legible, even in the published in 1958, looked forward with paragraphs listing the references in small anticipation and a bit of impatience to print. The half-leather binding is sturdy. the publication of the second, final vol- At the same time, with a stylized lyre ume. It left the printer's shop full five embossed in gold on the linen cover, the years later. Fortunately, it was not binding would satisfy the demanding "aging" during all this time. Some works tastes of a bibliophile. published as recently as 1963 are cited in As has by now become traditional with the second volume. publications of the Yugoslav Lexico-

The work is a general encyclopedia graphic Institute, the work is richly illus- of music, covering all aspects of the trated, including some 120 copperplate topic, with a good balance between the engravings interspersed through the two contemporary status and the historical volumes. Included are numerous portraits perspective. It will serve well various of composers and professional performers, categories of readers, from the occasional samples of manuscripts and excerpts from user to a specialist in Balkan folk music. printed compositions, title pages of com- The documentation is reliable as well as positions and an occasional musical unusually thorough. The references, ap- journal, announcements and programs of pended to the majority of the entries, operatic performances, localities and are an especially valuable feature. The buildings related to the history of music, long list of contributors reads like "Who's scenes from operas and ballets, various Who in Yugoslav Musicology." Sixty-one types of musical ensembles, pictures of contributors are listed in Vol. 1, with musical (especially folk, historical, and 23 residing in Belgrade, Serbia, 23 in non-European) instruments, and even a Zagreb, Croatia, 5 in Ljubljana, Slovenia, mark that Antonius Stradivarius Cre-

128

Muzicka Enciklopedija (Encyclopedia of Music). Josip Andreis, Editor-in-Chief. Zagreb: The Lexicographic Institute of Yugoslavia. [Vol. 1: A-J, 760 p. (1958). Vol. 2: K-Z, 855 p. (1963); $10.00 per volume]

Specialists, including reference and 4 in Sarajevo, Bosnia, 3 in Cetinje, Mon- musical librarians familiar with the first tenegro, and 3 in other cities. volume of the Encyclopedia of Music, The print is easily legible, even in the published in 1958, looked forward with paragraphs listing the references in small anticipation and a bit of impatience to print. The half-leather binding is sturdy. the publication of the second, final vol- At the same time, with a stylized lyre ume. It left the printer's shop full five embossed in gold on the linen cover, the years later. Fortunately, it was not binding would satisfy the demanding "aging" during all this time. Some works tastes of a bibliophile. published as recently as 1963 are cited in As has by now become traditional with the second volume. publications of the Yugoslav Lexico-

The work is a general encyclopedia graphic Institute, the work is richly illus- of music, covering all aspects of the trated, including some 120 copperplate topic, with a good balance between the engravings interspersed through the two contemporary status and the historical volumes. Included are numerous portraits perspective. It will serve well various of composers and professional performers, categories of readers, from the occasional samples of manuscripts and excerpts from user to a specialist in Balkan folk music. printed compositions, title pages of com- The documentation is reliable as well as positions and an occasional musical unusually thorough. The references, ap- journal, announcements and programs of pended to the majority of the entries, operatic performances, localities and are an especially valuable feature. The buildings related to the history of music, long list of contributors reads like "Who's scenes from operas and ballets, various Who in Yugoslav Musicology." Sixty-one types of musical ensembles, pictures of contributors are listed in Vol. 1, with musical (especially folk, historical, and 23 residing in Belgrade, Serbia, 23 in non-European) instruments, and even a Zagreb, Croatia, 5 in Ljubljana, Slovenia, mark that Antonius Stradivarius Cre-

128

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