Musically it is beautifully expressed by the Love Motive, which, when _Wotan_, as if awakening from a reverie, fondly strokes her hair, goes over into the Siegmund Motive. It is over the fate of his beloved Wälsungs _Wotan_ has been brooding. Immediately following _Brünnhilde's_ words,
is a wonderfully soft yet rich melody on four horns. It is one of those beautiful details in which Wagner's works abound.
In _Wotan's_ narrative, which now follows, the chief of the gods tells _Brünnhilde_ of the events which have brought this sorrow upon him, of his failure to restore the stolen gold to the _Rhinedaughters_; of his dread of _Alberich's_ curse; how she and her sister Valkyrs were born to him by _Erda_; of the necessity that a hero should without aid of the gods gain the Ring and Tarnhelmet from _Fafner_ and restore the Rhinegold to the _Rhinedaughters_; how he begot the Wälsungs and inured them to hardships in the hope that one of the race would free the gods from _Alberich's_ curse.
The motives heard in _Wotan's_ narrative will be recognized, except one, which is new. This is expressive of the stress to which the gods are subjected through _Wotan's_ crime. It is first heard when _Wotan_ tells of the hero who alone can regain the ring. It is the =Motive of the Gods' Stress=.
Excited by remorse and despair _Wotan_ bids farewell to the glory of the gods. Then he in terrible mockery blesses the Nibelung's heir--for _Alberich_ has wedded and to him has been born a son, upon whom the Nibelung depends to continue his death struggle with the gods. Terrified by this outburst of wrath, _Brünnhilde_ asks what her duty shall be in the approaching combat. _Wotan_ commands her to do _Fricka's_ bidding and withdraw protection from _Siegmund_. In vain _Brünnhilde_ pleads for the Wälsung whom she knows _Wotan_ loves, and wished a victor until _Fricka_ exacted a promise from him to avenge _Hunding_. But her pleading is in vain. _Wotan_ is no longer the all-powerful chief of the gods--through his breach of faith he has become the slave of fate. Hence we hear, as _Wotan_ rushes away, driven by chagrin, rage, and despair, chords heavy with the crushing force of fate.
Slowly and sadly _Brünnhilde_ bends down for her weapons, her actions being accompanied by the Valkyr Motive. Bereft of its stormy impetuosity it is as trist as her thoughts. Lost in sad reflections, which find beautiful expression in the orchestra, she turns toward the background.