VI. The Mystery of the Future

The subject of the three public lectures in Stockholm was Wagner's “Ring of the Nibelungs,” and, walking along the streets, the announcements of the last performance at the Opera of Wagner's Ragnarök, the “Götterdämmerung” (Twilight of the Gods), were to be seen on the kiosks. These things are really symptomatic, interweaving in a most remarkable way. Underlying the old Nordic sagas there is a note of deep tragedy, indicating that the Nordic Gods and Divinities would be superseded by One yet to come. This motif and trend of the Nordic sagas reappears in a medieval form in Wagner's. Siegfried is killed by a thrust between his shoulder-blades, his only vulnerable part. This is a prophetic intimation that here, at this place in his body, something is lacking, and that through One yet to come it will be covered by the arms of the Cross. This is no mere poetic image, but something that has been drawn from the inspiration belonging to the world of saga and legend. For this same note of tragic destiny was implicit in the Nordic sagas, in the Mystery-truth underlying them, that the Nordic Gods would be replaced by the later, Christian Principle. In the Northern Mysteries the significance of this ‘Twilight’ of the Gods was everywhere made plain.