เด เด-เดฌเตเดเตเดเดฟเดจเตเดเตเดเตเดฑเดฟเดเตเดเต
In the following pages an attempt has been made to render as closely as possible into English narrative prose the libretto of Wagner's "Valkyrie". The story is one little known to English readers, and even those who are familiar with the gigantic music may find in the story something which, even when rendered into homely prose, will reveal to them some new greatness of the master-mind of its author. It is in this hope that I have attempted this version.
Whether I have attempted a task either absolutely impossible, or impossible to my capacity, I cannot tell, for so huge is the scale of the original, so big with passion, so set in the riot of storm-clouds and elemental forces, that perhaps it can only be conveyed to the mind as Wagner conveyed it, through such sonorous musical interpretations as he alone was capable of giving to it. Yet even because the theme is so great, rather than in spite of it, any interpretation, even that of halting prose, may be unable to miss certain of the force of the original.
The drama itself comes second in the tetralogy of the Ring, being preceded by the Rheingold. But this latter is more properly to be considered as the overture to a trilogy than as the first drama of a tetralogy. In it the stage is set, and Heaven above, rainbow-girt Walhalla, and the dark stir of the forces beneath the earth, Alberich and the Niebelungs, enter the arena waiting for the puny and momentous sons of men to assert their rightful lordship over the earth, at the arising of whom the gods grow grey and the everlasting foundations of Walhalla crumble. From the strange loves of Siegmund and Sieglinde, love not of mortal passion, but of primeval and elemental need, the drama starts; this is the first casting of the shuttle across the woof of destiny. From that point, through the present drama, through Siegfried, through the dusk of the gods the eternal grinding of the mills continues. Once set going the gods themselves are powerless to stop them, for the stream that turns them is stronger than the thunderings of Wotan, for the stream is "That which shall be."
เดฑเตเดฑเตเดฑเดฟเดเดเตเดเดณเตเด เดฑเดฟเดตเตเดฏเตเดเดณเตเด
เดฐเดเดฏเดฟเดคเดพเดตเดฟเดจเต เดเตเดฑเดฟเดเตเดเต
Edward Frederic Benson (24 July 1867 โ 29 February 1940) was an English novelist, biographer, memoirist, archaeologist and short story writer, known professionally as E. F. Benson. His friends called him Fred.
Benson's first book was Sketches from Marlborough. He started his novel writing career with the (then) fashionably controversial Dodo (1893), which was an instant success, and followed it with a variety of satire and romantic and supernatural melodrama. He repeated the success of Dodo, which featured a portrait of composer and militant suffragette Ethel Smyth (which she "gleefully acknowledged", according to actress Prunella Scales), with the same cast of characters a generation later: Dodo the Second (1914), "a unique chronicle of the pre-1914 Bright Young Things" and Dodo Wonders (1921), "a first-hand social history of the Great War in Mayfair and the Shires". The Mapp and Lucia series, written relatively late in his career, consists of six novels and two short stories. The novels are: Queen Lucia, Lucia in London, Miss Mapp (including the short story "The Male Impersonator"), Mapp and Lucia, Lucia's Progress (published as The Worshipful Lucia in the United States) and Trouble for Lucia. The short stories are "The Male Impersonator" and "Desirable Residences". Both appear in anthologies of Benson's short stories, and the former is also often appended to the end of the novel Miss Mapp.
Benson was also known as a writer of atmospheric, oblique, and at times humorous or satirical ghost stories, which were often first published in story magazines such as Pearson's Magazine or Hutchinson's Magazine, 20 of which were illustrated by Edmund Blampied. These "spook stories", as they were also called, were then reprinted in collections by his principal publisher, Walter Hutchinson. His 1906 short story, "The Bus-Conductor", a fatal-crash premonition tale about a person haunted by a hearse driver, has been adapted several times, notably in 1944 (in the film Dead of Night and as an anecdote in Bennett Cerf's Ghost Stories anthology published the same year) and in a 1961 episode of The Twilight Zone. The catchphrase from the story, "Room for one more", even spawned an urban legend, and also appears in the 1986 Oingo Boingo song, "Dead Man's Party".
Benson's David Blaize and the Blue Door (1918) is a children's fantasy influenced by the work of Lewis Carroll. "Mr Tilly's Seance" is a witty and amusing story about a man flattened by a traction-engine who finds himself dead and conscious on the 'other side'. Other notable stories are the eerie "The Room in the Tower" and "Pirates".
Benson is also known for a series of biographies/autobiographies and memoirs, including one of Charlotte Brontรซ. His last book, delivered to his publisher ten days before his death, was an autobiography entitled Final Edition.
H. P. Lovecraft spoke highly of Benson's works in his "Supernatural Horror in Literature", most notably of his story "The Man Who Went Too Far".
Further "Mapp and Lucia" books have been written by Tom Holt, Guy Fraser-Sampson, and Ian Shepherd.
