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Finding an Ending: Reflections on Wagner's Ring
Few musical works loom as large in Western culture as Richard Wagner's four-part Ring of the Nibelung . In Finding an Ending , two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world.
Kitcher and Schacht plunge the reader into the heart of Wagner's Ring , drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brünnhilde who shows the way.
The Ring' s ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and through the ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.
Kitcher and Schacht plunge the reader into the heart of Wagner's Ring , drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brünnhilde who shows the way.
The Ring' s ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and through the ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.
- GenresMusicCriticismPhilosophy
253 pages, Kindle Edition
First published January 1, 2004
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About the author
Philip Kitcher
44 books37 followersPhilip Kitcher is John Dewey Professor of Philosophy at Columbia University. He was the first recipient of the American Philosophical Association's Prometheus Prize for his work to expand the frontiers of science and philosophy.
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Displaying 1 - 8 of 8 reviews
January 23, 2022
A truly nice read, if you wish for an insight and understanding in the struggles of the main characters in Richard Wagner`s Ring der Nibelungen tetralogy. What to do, if understood that life will definitely end, even for a god?
An admirable, quite philosophical interpretation on the meaning of Wagner`s four operas. Questionable is, whether this meaning was intended by Wagner himself.
But isn't that what art is about? Is art finally not most meaningful, to what it does to us personally? And not so much about what eventually the artist intended to express? And certainly not about how the artist lived his life, about how his personality was and what his personal, in Wagner`s case reprehensible, opinions were?
Kitcher and Schacht offer a way for an interesting and deeper perception of a possible meaning in the written texts in Richard Wagner`s Gesamtkunstwerk. Richard Wagner`s music speaks for itself.
An admirable, quite philosophical interpretation on the meaning of Wagner`s four operas. Questionable is, whether this meaning was intended by Wagner himself.
But isn't that what art is about? Is art finally not most meaningful, to what it does to us personally? And not so much about what eventually the artist intended to express? And certainly not about how the artist lived his life, about how his personality was and what his personal, in Wagner`s case reprehensible, opinions were?
Kitcher and Schacht offer a way for an interesting and deeper perception of a possible meaning in the written texts in Richard Wagner`s Gesamtkunstwerk. Richard Wagner`s music speaks for itself.
December 18, 2012
Despite the great deal of reiteration (emphasis?) from the authors, this is an engaging literary look into the story/libretto of Wagner, with hints to the use of his music, to create the world of gods and men in Der Ring des Nibelungen. The authors explain the mythology and the concept of authority via Wotan (and amusingly Mozart's Don Giovanni) Wagner employs in order to create a search for the end of the gods, the end of the characters, the end of Wagner's own opera.
Wotan's logos/ethos love of humankind, Brunnhilde's pathos, and SIegfried's immature eros - none of these are strong enough to implement the changes they want. The ring returns to whence it came, to the creatures who only lust after it, not because they want this corrupted power but because their collection of Rheingold isn't complete without it. How existential. Everything returns to where it once was in Act I, Scene I of Das Rheingold. And yet, there is that majestic coda to the music, coming right off the Rheingold leitmotif - the world hasn't changed, but we as viewers have. We won't be so quick to forget the foils and foibles and brilliance of Wotan and his creations, no matter how bleak the finale is, no matter how high the flames that destroy Valhalla are.
Wotan's logos/ethos love of humankind, Brunnhilde's pathos, and SIegfried's immature eros - none of these are strong enough to implement the changes they want. The ring returns to whence it came, to the creatures who only lust after it, not because they want this corrupted power but because their collection of Rheingold isn't complete without it. How existential. Everything returns to where it once was in Act I, Scene I of Das Rheingold. And yet, there is that majestic coda to the music, coming right off the Rheingold leitmotif - the world hasn't changed, but we as viewers have. We won't be so quick to forget the foils and foibles and brilliance of Wotan and his creations, no matter how bleak the finale is, no matter how high the flames that destroy Valhalla are.
February 27, 2013
Wagner's Ring is too complex ever to be reducible to a single completely satisfactory interpretation, but Kitcher and Schacht's exegesis is lively, insightful and intermittently convincing. I feel they are somewhat distorting the picture by heavily emphasizing Wotan's noble intentions, given his shameless swindling and thuggery in Rheingold, and I'm not too sure Fricka is really as "myopic" as they insist she is. On the other hand, they make a far more compelling case for the woolly notion that Brunnhilde's death "vindicates" Wotan's failed efforts to establish a viable cosmic order than I initially thought possible. The analogies they draw with King Lear are intriguing, and their take on Siegfried (particularly with regard to the problematic "love duet" with concludes the opera of that name) is very acute. Very enjoyable and stimulating, and recommended to all Wagnerites!
March 9, 2014
If you are fascinated with Wagner's Ring Cycle, this is quite a wonderful book. If you are not, you will be entirely perplexed why someone might want to read it. Fair warning.
Kitcher and Schacht are philosophers and musicians (the former professionally, the latter as fairly sophisticated amateurs). They have come at the mysteries of the Ring from the perspective of their philosophical leanings and their analysis is cogent and cohesive. In fact, that may well be its fatal flaw—I am not convinced that Wagner himself had such a clear idea of his intent. He was a purposeful composer and no doubt had a thorough grasp of the symbolism he was using as he was writing, much more so than, for example, Mozart seems to have had when he wrote "The Magic Flute" (a seriously weird opera). But as this was written over many years, I have my doubts that the inconsistency inherent in the cycle is the result of a thought process as purposeful as that these authors seem to be attributing to him.
Still, this is a provocative and thoughtful book that should appeal to all those who are drawn to this monumental work.
Kitcher and Schacht are philosophers and musicians (the former professionally, the latter as fairly sophisticated amateurs). They have come at the mysteries of the Ring from the perspective of their philosophical leanings and their analysis is cogent and cohesive. In fact, that may well be its fatal flaw—I am not convinced that Wagner himself had such a clear idea of his intent. He was a purposeful composer and no doubt had a thorough grasp of the symbolism he was using as he was writing, much more so than, for example, Mozart seems to have had when he wrote "The Magic Flute" (a seriously weird opera). But as this was written over many years, I have my doubts that the inconsistency inherent in the cycle is the result of a thought process as purposeful as that these authors seem to be attributing to him.
Still, this is a provocative and thoughtful book that should appeal to all those who are drawn to this monumental work.
January 23, 2017
It's a very interesting book to read and certainly gave me some new insights on the characters of the Ring. However, just like in the drama itself, this book likes to repeat what we've already been told. As good as every chapter needs to remind you of Wotan's problem and what he intends to do about it. It's also a very one sided analysis, which is also a good thing as they don't just explore the issue, only to go over to another one. For non-native speakers, as myself, it can be a tough read as there are a lot of philosophical, psychological and academic terms and definitions. Overall, I'd rate it 3,5. The chapters are short and they take a lot of time to make their point. As I said, if you're looking for a good analysis of the Ring, focusing on Wotan's problem and the value of Love in the Ring, you should read this. I wouldn't recommend it as a first read on Wagner or the Ring, though.
April 10, 2013
If, like me, you are of that special breed of self-abuser who, wisely, avoids all Wagner operas EXCEPT, bizarrely, The Ring Cycle, then you need to read this book.
It's the only thing I've ever read on The Ring that even APPEARS to make sense. Whether or not it does, I really can't say.
I just know that reading it before seeing The Ring at Chicago Lyric Opera a couple years ago gave me the impression that I had some idea what was going on on stage.
In my experience, that's by far the most you can hope for.
It's the only thing I've ever read on The Ring that even APPEARS to make sense. Whether or not it does, I really can't say.
I just know that reading it before seeing The Ring at Chicago Lyric Opera a couple years ago gave me the impression that I had some idea what was going on on stage.
In my experience, that's by far the most you can hope for.
October 10, 2012
I still claim no expertise in the Ring Cycle, but all that I read, hear, and see makes me a more devoted fan. The authors of this volume include a lot of intelligent speculation on Wagner's motives in constructing the four operas and the mythology, even the philosophy that moves the story and the music along. I found it intriguing ... and even understood most of it.
July 29, 2009
An accessible and interesting view of the philosophical and psychological aspects of the characters in Wagner's Ring cycle.
Displaying 1 - 8 of 8 reviews