09/02/2026
On Wagner’s Der Ring des Nibelungen—and What This Work Truly Reveals
Richard Wagner’s Der Ring des Nibelungen is a monumental music drama consisting of four works—Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung. I have written about it many times on this blog.
Drawing on Norse mythology and Germanic legends, it depicts the rise and fall of the gods, the death of heroes, and ultimately the end of the world. Each time I listen, my understanding deepens, and I feel as though I am gradually unraveling the riddles Wagner embedded in the work.
Recently, I had the opportunity to hear “Brünnhilde’s Immolation Scene,” the culmination of this sixteen-hour epic, performed by the NHK Symphony Orchestra. This year marks the N響’s 100th anniversary, and I happened to receive a ticket for that evening from someone who holds a season subscription.
Listening to a magnificent soprano, a massive orchestra, and Wagner’s chromatic language with its frequent use of semitones, I wondered if my default mode network had kicked in—ideas and associations kept bubbling up one after another.
The Ring is often discussed as a critique of power, of capitalism, or as a mythological vision of apocalypse. Yet those readings alone leave behind a peculiar, unresolved aftertaste.
Why did Wagner depict everything so thoroughly, and yet never present a single image of a “correct” or ideal world? Why did heroes, gods, and institutions alike all have to fail? I feel there may be another way of reading this work.
If one follows The Ring carefully, there is no clear villain who destroys the world. Alberich is rational. Wotan is a ruler with a strong sense of responsibility. Siegfried possesses unquestionable innocence and goodness. Brünnhilde makes ethical judgments.
In other words, each of them makes what seems, at the time, to be the “right choice.” And yet the world still comes to an end. This is the most unsettling aspect of The Ring.
I read this work as a succession of four choices. In Das Rheingold, power is chosen. In Die Walküre, love is tested. In Siegfried, innocence is trusted. And despite all this, in Götterdämmerung, the world ends.
Power, love, and innocence are among the finest values humanity can believe in. And yet, even after exhausting all of them, the world could not be sustained. This is not a story of failure; rather, I think it is a record of humanity having played every best possible hand it had.
Less often noted is that The Ring is also a story about “coming to know.” As the drama unfolds, the characters come to understand one thing after another: that contracts are internally contradictory, that institutions kill love, that heroes cannot grasp the structures they inhabit, that prolonging life is not the same as solving a problem.
Finally, Brünnhilde understands everything. She knows how the world could be saved, how it could be continued, how it might avoid destruction—and yet she arrives at the conclusion that it cannot be continued.
Brünnhilde’s final act, leading to her death, is often described as self-sacrifice or redemption through love. To me, however, it appears to be an extraordinarily calm and lucid decision. What she accepts is not the role of improving the world, but the responsibility of ending it.
Not to save someone, nor to guarantee a future, but to refuse to carry on through further deception—she returns everything to the flames. It is a choice made not from emotion, but from intellect.
What The Ring shows is not that civilizations collapse because they are immature. Quite the opposite: the world is not destroyed by evil, but becomes impossible to sustain once it is understood too well.
The Ring is a record of the moment humanity becomes too intelligent. That is why, despite being a myth, it resonates so powerfully with the modern world.
After this, Wagner goes on to write Parsifal, but there he no longer tells a story about saving the world. Instead, he asks how one should behave in a world after it has broken, and what it means not to repeat the same mistakes.
If The Ring represents an “intellect that knows how to end,” then Parsifal represents an “attitude that refuses repetition.”
Wagner never depicted a happy vision of the future. He simply, quietly, left us with the question of how human beings—once they have understood too much—might still live. I came to feel that this coldness, and this honesty, form the true core of The Ring.