“I have no dread of God, no fear of the Devil, no fear of man, but my head swims as I write it– I fear myself.”
“I believe dread can take four forms.” and dread is what we think fear is. (True fear compels living…writing, painting, drawing, playing music, playing dress up, designing crap for the universe to exist within the perimeters of…etc.) Dread “I like it better than the word fear because fear, like the unconscious emotion which is one of its forms, has only the word ear inside of it, telling us to listen, while dread has the word read inside of it, telling us to read carefully and find the dead, who are also there.”
1. your very first response to the smell of smoke, the unconscious EMOTION fear– response to the sound of thunder, spiders, fire
2. anticipatory dread of pain, either physical, emotional, spiritual or psychological (note “psychological” as differentiated)
3. the third form is DOUBT or DESPAIR.
4. the fourth is dread “born of reverence”, “the holy dread with which we face that which we love most, or that which loves us most”
On trend with academia, I hate Wagner but love Wagner’s Ring Cycle. I also love Tristan and Isolde. What can I say? The 1920’s are my favorite decade of the 20th century. And Germany’s Weimar Republic is my favorite decadent lunacy ever to be called a government. Who can argue with an establishment so dangerous, so unstable, with an identity so illogical its rooted in counter-culture? Rabble-rousing arisen from misdirection?
As a card carrying member of GENERATION X-stremely stupid, I was born to rebel without a cause. against the weather. against my own privilege, my own white-ness, female-ness, lack of utility. My identity is rooted in myself as an individual and not in land or community.
Over the course of my silly, indulgent life, I’ve had the privilege of seeing three of the four installments of the Ring Cycle at the San Francisco opera house. Das Rheingold is my favorite.
GOD/WIKI says of it:
Das Rheingold (help·info) (‘The Rhine Gold’) is the first of the four operas that constitute Richard Wagner‘s Der Ring des Nibelungen(‘The Ring of the Nibelung’). It was originally written as an introduction to the tripartite Ring, but the cycle is now generally regarded as consisting of four individual operas.
Although Das Rheingold comes first in the sequence of Ring operas, it was the last to be conceived. Wagner’s plans for the cycle grew backwards from the tale of the death of the hero Siegfried, to include his youth and then the story of the events around his conception and of how the Valkyrie Brünnhilde was punished for trying to save his parents against Wotan’s instructions. So in August 1851, Wagner wrote in “Eine Mittheilung an meine Freunde” (A Communication to My Friends), “I propose to produce my myth in three complete dramas….”. However, by October, he had decided that this trilogy required a prelude and the text of “Eine Mittheilung” was duly altered to reflect the change. To the sentence quoted above he added the words, “which will be preceded by a great prelude”.
The curtain rises to show, at the bottom of the Rhine, the three Rhine maidens, Woglinde, Wellgunde, and Flosshilde, playing together. The key shifts to A flat as Woglinde begins an innocent song whose melody is frequently used to characterise the Rhine maidens later in the cycle. Alberich, a Nibelung dwarf, appears from a deep chasm and tries to woo them. Struck by Alberich’s ugliness, the Rhine maidens mock his advances and he grows angry. As the sun begins to rise, the maidens praise the golden glow atop a nearby rock; Alberich asks what it is. The Rhine maidens tell him about the Rhine gold, which their father has ordered them to guard: it can be made into a magic ring which will let its bearer rule the world, but only by someone who first renounces love. They think they have nothing to fear from the lustful dwarf, but Alberich, embittered by their mockery, curses love, seizes the gold and returns to his chasm, leaving them screaming in dismay.