Wagner's Ring and Its Symbols

Rating:
Summary: Terrific, multi-faceted and consistent analysis.
Review: Reading the first few pages of this book it became clear to me what the emphasis of this interpretation of Wagner's masterpiece would be, namely a Freudian/Jungian interpretation of the subconscious driving force behind Wagner's genius. I wasn't particularly receptive to this approach initially, notwithstanding the fact that I have a first degree in Psychology. However, the author's cogent and fluid arguments convinced me of the validity of such an interpretation.

Wagner as an artist allowed himself to be driven by his subconscious in his later works, allowing his conscious self to contribute only for the purpose of rounding off the work. On the basis of this a detailed understanding of Wagner's subconscious, and indeed the interplay between his subconscious and conscious self must be seen as of indispensable importance to an indepth evaluation of 'der Ring des Nibelungen'.

I think it is important to note that given the complexity of Wagner's Ring of the Nibelung such an interpretation does not preclude the relevance of other interpretations at different levels of abstraction. More orthodox evaluations of Wagner's tetraology have concerned themselves with Wagner's apparent political and romantic motivations. While such interpretations are not necessarily incompatible with Donington's analysis the author looks beyond the realm of the salient in order to take us places that were closed even to Wagner himself.

Psychological analysis, particularly when of the Classical variety, may be unpalatable to many when used to interpret famous works of art. A common criticism of advocates of Freudian and Jungian psychology is that the theories to which they subscribe are outdated and often, in the case of Freudian psychoanalysis, fundamentally flawed. However, many such theories still resonate today and in fact the appearance of what 'hard' scientists may deem outdated terminology is a perfectly apt and valid way to deal with the issues in this particular artistic work. The use of words like 'ego', as when contrasted with the 'subconscious', might deter the interest of some, but Donington uses such terminology interchangeably with more contemporary expressions such as 'conscious will' and certainly from a psychological and neuroscientific perspective the conscious-subconscious duality is as relevant now as it ever was.

Donington uses his knowledge of Freudian and Jungian psychology to explain the Ring Cycle from a developmental psychology perspective. The power struggle between conscious-will, or ego, and the subconscious. Synonyms for such a conflict include power versus love (a popular understanding of the nature of the Ring Cycle) and the need of the self to reconcile individuality with a union to nature. Wagner completed the cycle over 26 years, a time during which he went through many a psychological and musical transformation - transformation being the key to the whole cycle according to the author.

Donington describes the developmental process that underlies the transformation that we all must go through. From separation of the conscious and the subconscious, in order to derive individuality and 'extra-natural' existence, to reconciliation of the two components of psyche to arrive at the self, a harmonised amalgum of individual and nature. Wagner's difficulty at making the psychological transformation from the conscious-willing, controlling individual to the mature, compassionate and fulfilled self is then convincingly claimed to be the driving force behind Wagner's creative expression particularly embodied in the Ring Cycle.

That Donington has a particular angle on Wagner's Ring Cycle is to the book's credit rather than its detriment as it elucidates context which serves to engender and maintain interest in the reader when the narrative and musical symbolism of the work is described. I have read other books detailing Wagner's myths that seem pedestrian by comparison owing to a 'walk-through' approach.

Some descriptions are perhaps open to debate; is Alberich renouncing compassionate love or is he in fact renouncing naive love? Perhaps, through subconscious projection on to Alberich, Wagner is closer to overcoming his own longing for naive and unobtainable love than even the author imagines. In essence this point is not actually inconsistent with the tenor of that proposed by the author.
Other petty points may be proferred but the general consistency of argument and clarity of presentational style leave you feeling that you have ventured on yet another sparkling ring. This book rewards the patient and is a must for any Wagnerite/Ring Cyle enthusiast.

Rating:
Summary: Don't take it too seriously; eccentric, sometimes insightful
Review: To an even greater extent than, say, Freudianism, Jungianism involves a leap of faith. It isn't rational, let alone anything like scientific; it's another case where a charismatic person once came up with a set of precepts, and the disciples follow them. But while I wouldn't recommend a Jungian therapist to anyone I cared about (I'd expect no harm except to the wallet; but little good either) Jungian analysis can be interesting when its applied to myth; it is after all largely based on Jung's ideas about myth. That makes Jungian ideas fairly apt for reading a myth-based work like the "Ring".

Robert Donington is a Jungian true believer, and he applies Jung's ideas with considerable ingenuity and interest. Sometimes he'll do anything to fit Wagner into the Jungian framework, so that, for example, he'll read the very male dragon Fafner as "the mother in her devouring aspect". That's a pretty desperate reading: Fafner is nobody's female principle, and only someone with a strongly pre-determined agenda could try to make him one.

Still, Donington is often insightful. Why is there a brief reminiscence of Erda's theme when Fricka appears in Walku:re Act II? Because, says Donington, Fricka is somehow representing Erda's wisdom in this appearance. Fricka may not seem wise, but on this occasion she is right. This and a hundred other small insights makes this a worthwhile and constantly interesting book. It's also very good on Wagner's mythological sources.

Donington is right in thinking that the Ring is an endlessly complex and profound work; but probably wrong in thinking that Jung holds the key. Still, while Donington's overall reading is eccentric and not entirely reliable, this is a very enjoyable and often insightful book.

Laon