What makes Bernard Shaw, for us, the most perfect of Wagnerites
is that he did not mince words when he judged the master to have taken a wrong turn. Such a
turn came in Das Rheingold, and Shaw was quick to expose it, even though he had just
spent a chapter elaborating the profound political allegory he discerned in the work:
In the midst of these far-reaching ideas, it is amusing to find Wagner still full of his ingrained
theatrical professionalism, and introducing effects which now seem old-fashioned and stagey
with as much energy and earnestness as if they were his loftiest inspirations. When Wotan
wrests the ring from Alberic, the dwarf delivers a lurid and blood-curdling stage curse,
calling down on its every future possessor care, fear, and death. The musical phrase
accompanying this outburst was a veritable harmonic and melodic bogey to mid-century
ears, though time has now robbed it of its terrors. It sounds again when Fafnir slays Fasolt,
and on every subsequent occasion when the ring brings death to its holder. This episode
must justify itself purely as a piece of stage sensationalism. On deeper ground it is
superfluous and confusing, as the ruin to which the pursuit of riches leads needs no curse
to explain it; nor is there any sense in investing Alberic with providential powers in the
matter.