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Alberich puts on the Tarnhelm and vanishes; illustration by Arthur Rackham to Richard Wagner's Das Rheingold

The Tarnhelm is a magic helmet in Richard Wagner's Der Ring des Nibelungen (written 1848–1874; first perf. 1876). It was crafted by Mime at the demand of his brother Alberich. It is used as a cloak of invisibility by Alberich in Das Rheingold. It also allows one to change one's form:

  • Alberich changes to a dragon and then a toad in Das Rheingold, Scene 3.
  • Fafner changes to a dragon after the end of Das Rheingold and appears thus in Siegfried Act II. (It is never made clear whether Fafner actually used the Tarnhelm to transform, or simply transformed as many giants and gods did in the myths. There is also no Tarnhelm present in the original Andvari myth from Reginsmál in the Poetic Edda from which Wagner drew inspiration for this scene.)
  • Siegfried changes to Gunther's form in Götterdämmerung Act I, Scene 3.

Finally, it allows one to travel long distances instantly, as Siegfried does in Götterdämmerung, Act II.[1] The stage directions in Das Rheingold and Siegfried describe it as a golden chain-mail helmet which covers the wearer's face.

In politics

[edit]

Nacht und Nebel ("Night and Fog") was a directive of Adolf Hitler on 7 December 1941 that was originally intended to remove all political activists and resistance "helpers"; "anyone endangering German security" throughout Nazi Germany's occupied territories. The name was a direct reference to a magic spell involving the "Tarnhelm" ("stealth helmet") from Wagner's Rheingold.

[edit]
  • In The Lord of the Rings, Éowyn adopts the name "Dernhelm" when she masquerades as a man before slaying the Witch-King of Angmar; "Dernhelm" is the Old English equivalent of "Tarnhelm".[2]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tarnhelm

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![Illustration from Richard Wagner's Das Rheingold][float-right] The Tarnhelm is a magical helmet featured in Richard Wagner's operatic cycle Der Ring des Nibelungen, forged by the dwarf smith Mime under duress from his brother Alberich in the prologue opera Das Rheingold.[1][2] It endows its wearer with the abilities to assume any desired shape or form and to render oneself invisible, serving as a pivotal artifact in the narrative's exploration of power, deception, and curse.[3][4] Central to the tetralogy's plot, the Tarnhelm is seized by the god Loge during the theft of the Rhinegold from Alberich and later employed by characters such as Wotan, Siegfried, and Hagen to facilitate disguises and subterfuges that propel the drama toward its cataclysmic resolution.[1][4] Wagner associates the helmet with a distinctive leitmotif, a recurring musical theme that underscores its appearances and symbolizes illusion and transformation throughout the cycle.[5] Its creation from the enchanted gold underscores themes of misused craftsmanship and the corrupting influence of renounced love, as Alberich's curse on the ring extends to the artifacts forged from it.[2]

Origins in Richard Wagner's Works

Invention and mythological influences

The Tarnhelm was created by Richard Wagner as an original element for his opera cycle Der Ring des Nibelungen, first conceptualized in the libretto for Das Rheingold, completed in November 1852. Unlike the magical ring, which derives from the cursed treasure of Andvari in the Völsunga Saga and related Norse sources, the Tarnhelm lacks a direct counterpart in the Germanic and Norse myths Wagner drew upon, such as the Poetic Edda or Nibelungenlied. Wagner introduced it as a forged artifact enabling transformation and concealment, crafted by the dwarf Mime under Alberich's command to amplify the Nibelungs' hoard of power.[6] This invention served Wagner's dramatic purposes, consolidating motifs of deception and metamorphosis into a single prop to heighten the cycle's themes of misuse of power and illusion. While shape-shifting occurs in Norse legends—evident in figures like Fafnir, who transforms into a dragon to guard the treasure, or Otter, who assumes animal form without mechanical aid—no enchanted helmet facilitates such changes in the original sagas. Wagner's adaptation thus represents a synthesis, attributing agency to a tangible object rather than innate godly or monstrous ability, reflecting his Romantic emphasis on human (or dwarvish) ingenuity in harnessing supernatural forces.[6] The term "Tarnhelm" itself, meaning "disguise helmet" from the German tarnen (to conceal or deceive) and Helm (helmet), underscores its functional invention, with no etymological or artifactual precedent in medieval sources. Scholars note that Wagner's broader influences included Teutonic folklore and medieval epics, where invisibility or disguise appears sporadically, such as in tales of cunning dwarves or gods like Loki, but always through spells or innate trickery rather than wearable magic. This departure allowed Wagner to innovate within mythological tradition, prioritizing operatic spectacle and symbolic depth over strict fidelity to source material.[7]

Forging and craftsmanship

The Tarnhelm was forged by Mime, the skilled Nibelung dwarf and brother to Alberich, in the underground forges of Nibelheim shortly after Alberich's theft of the Rhinegold in the events of Das Rheingold. Compelled by Alberich's enslavement of the Nibelungs using the gold's curse, Mime shaped the helmet from a portion of the enchanted metal, transforming its innate magical properties into a functional artifact of deception and power. This dwarven craftsmanship harnessed the gold's limitless potential, embedding capabilities for invisibility and shape-shifting directly into the helmet's form.[1][2][3] Mime's role as the preeminent smith among the Nibelungs underscores the helmet's exquisite execution, requiring not only physical hammering and molding—evoked through the opera's anvil choruses and rhythmic orchestration—but also an intuitive mastery of the gold's sorcerous essence to imbue it with transformative effects. Alberich's demonstration of the Tarnhelm, donning it to vanish and reappear, immediately validates the forge-work's success, as it enables instantaneous metamorphoses into forms such as a dragon or toad. The artifact's durability is evident in its subsequent uses across the cycle, enduring conflicts without apparent degradation.[8][1] This creation exemplifies Nibelung metallurgy's fusion of technical precision and arcane manipulation, distinct from the later forging of the One Ring, which demanded even greater concentration of the gold's power. Mime's expertise, later displayed in reforging the sword Notung in Siegfried, highlights a consistent tradition of artifactual innovation among the dwarves, though the Tarnhelm remains uniquely tied to themes of concealment and misuse of inherited magic.[2][3]

Description and Powers

Magical abilities

The Tarnhelm endows its wearer with three distinct magical capabilities: invisibility, metamorphosis into other forms, and instantaneous translocation to remote locations. These powers are invoked through incantations and derive from the Nibelung craftsmanship infused with the enchanted Rhinegold.[3][7] Invisibility allows the wearer to vanish from sight, as demonstrated by Alberich in Das Rheingold when he dons the helmet to evade detection and subjugate the Nibelung slaves without being seen.[2] This faculty enables covert actions, such as Alberich's unseen assaults on his brother Mime.[4] Shape-shifting permits transformation into animals or other humanoid guises, a power Alberich showcases in Das Rheingold by assuming the form of a massive dragon to intimidate intruders and then a toad for evasion during capture.[9] In Götterdämmerung, Siegfried utilizes this ability via the Tarnhelm to impersonate Gunther, facilitating deception in claiming Brünnhilde as a bride.[10] Translocation enables swift travel across vast distances or between realms, allowing the wearer to "waft" to far-off places without conventional means.[3] Siegfried employs this in Götterdämmerung to teleport from the Gibichung hall after his disguise, outpacing his companions who travel by boat.[11] Mime alludes to this capacity in Siegfried, noting the helmet's potential to convey the user to the "world's end."[12]

Physical characteristics

The Tarnhelm is a helmet forged by the Nibelung dwarf Mime under duress from his brother Alberich. In the libretto of Das Rheingold, stage directions describe Alberich placing the Tarnhelm on his head, confirming its form as a fitted headpiece. The name "Tarnhelm," combining "Tarn" (disguise) and "Helm" (helmet), underscores its physical identity as protective headgear adapted for magical concealment.[13] Visual depictions in Wagner's era and subsequent productions portray the Tarnhelm as a golden helmet, often constructed like chain mail to envelop the wearer's face, facilitating shape-shifting and invisibility without restricting movement. This design aligns with Mime's craftsmanship as a skilled smith, enabling the helmet's dual role as both artifact and transformative device.[14] In Siegfried, the Tarnhelm retains this form when retrieved from Fafner's hoard, used by Mime in attempts to manipulate its powers before Siegfried claims it.[15]

Role in Der Ring des Nibelungen

In Das Rheingold

In Das Rheingold, the first part of Richard Wagner's Der Ring des Nibelungen, the Tarnhelm is forged by the Nibelung dwarf Mime under duress from his brother Alberich, who wields the power of the Rhinegold to enslave his kin and compel the creation of both the Ring and this magical helmet.[1] The artifact, crafted from the stolen gold, grants its wearer the ability to transform into any desired shape or render themselves invisible.[2] Alberich first employs the Tarnhelm to vanish from sight, enabling him to stealthily monitor and lash the enslaved Nibelungs laboring in the depths of Nibelheim.[3] When Wotan and Loge descend to Nibelheim, they encounter Mime, who reveals the Tarnhelm's existence and laments his mistreatment.[1] Loge, the cunning fire god, goads Alberich into demonstrating the helmet's metamorphic powers; Alberich obligingly transforms into a dragon to intimidate the intruders, showcasing its capacity for assuming fearsome forms.[16] Further tricked by Loge, Alberich then shifts into a toad for easier concealment, allowing Wotan and Loge to seize him effortlessly and drag him back to the surface.[17] Compelled under threat, Alberich surrenders the Ring and the entire Nibelung hoard, including the Tarnhelm, to Wotan.[18] As payment for the goddess Freia, Wotan delivers the hoard to the giants Fafner and Fasolt, who pile it to conceal her form from view.[1] Fasolt retrieves the Tarnhelm from the treasure and places it atop the mound, its form symbolically capping the gods' transaction with the underworld's cursed artifacts. Fafner then slays Fasolt to claim sole possession of the hoard, including the Tarnhelm, which passes to him as the cycle's narrative advances.[2]

In Siegfried and Götterdämmerung

In Siegfried, the Tarnhelm forms part of the Nibelung hoard guarded by Fafner, who has transformed into a dragon using its powers.[12] Siegfried slays Fafner in Act II and claims the helmet along with the Ring of the Nibelung from the treasure.[19] Prior to this, Alberich, seeking to regain the hoard, urges Mime—its original forger—to employ the Tarnhelm's abilities against Fafner, but Mime's inherent cowardice and lack of mastery prevent effective use.[15] Siegfried, unaware of its full potential at this stage, takes possession without invoking its shape-shifting or invisibility functions during the opera's events, which culminate in his awakening Brünnhilde.[20] In Götterdämmerung, the Tarnhelm enables Siegfried's deception central to the plot's tragic betrayal. Upon arriving at the Gibichung hall, Siegfried agrees to aid Gunther in claiming Brünnhilde as a bride, employing the helmet to assume Gunther's likeness and traverse the encircling flames.[21] Disguised, he seizes Brünnhilde, forcibly removing her ring and subduing her resistance, an act that fractures their bond and propels the cycle's downfall.[22] The helmet's role underscores themes of illusion and misused power, as Siegfried—potioned to forget Brünnhilde—later reveals the deception unwittingly, leading to his murder by Hagen.[23] Unlike in Siegfried, its active deployment here amplifies the causal chain of curse-driven treachery originating from Alberich's renunciation of love.[24]

Musical and Symbolic Elements

The Tarnhelm leitmotif

The Tarnhelm leitmotif in Richard Wagner's Der Ring des Nibelungen functions primarily as a harmonic progression rather than a melodic line, characterized by the juxtaposition of two minor triads whose roots are separated by a major third, creating an aura of enchantment and unease.[25] This structure evokes the helmet's transformative and deceptive powers, often rendered on muted horns to underscore its mystical, shadowy essence.[26] First introduced in Das Rheingold during the forging of the Tarnhelm by Mime under Alberich's command, the motif accompanies the object's creation and initial demonstration, where Alberich shapeshifts into a dragon and then a toad.[27] Throughout the cycle, the leitmotif recurs with variations in orchestration, such as shifting from solo horn to woodwinds like oboes and clarinets, and incorporating chromatic elements to heighten tension during acts of disguise or invisibility.[28] In Siegfried, it signals the Tarnhelm's role in enabling impersonation and concealment, while in Götterdämmerung, it intensifies scenes of illusion and downfall, linking the helmet's magic to broader themes of renunciation and destruction.[29] These transformations maintain the motif's core harmonic identity, allowing Wagner to associate it consistently with sorcery and subterfuge without relying on fixed melody.[25] Symbolically, the Tarnhelm leitmotif embodies the perils of misused power and the blurring of reality through deception, its dissonant harmony mirroring the moral ambiguity of the Nibelungs' craftsmanship.[26] Analyses note its rhythmic and chordal primacy over melody, distinguishing it from more lyrical motifs in the tetralogy and emphasizing Wagner's technique of thematic evolution through harmony.[27]

Interpretations of power and deception

The Tarnhelm functions as a potent symbol of how power in Wagner's Der Ring des Nibelungen is inextricably linked to deception and illusion, enabling its wielders to manipulate appearances and realities to dominate others. Forged by the dwarf Mime under duress from Alberich, the helmet grants the ability to assume any form or render the wearer invisible, powers first demonstrated when Alberich transforms into a dragon to guard his hoard and later into a toad for capture, underscoring its role in both asserting control over the Nibelungs and facilitating vulnerability through overreliance on artifice.[3] This duality reflects a core theme: power derived from renunciation of love, as Alberich's curse on the ring extends to tools like the Tarnhelm, which amplify dominion but invite betrayal and downfall.[30] Scholars interpret the Tarnhelm's transformative magic as emblematic of self-deception and the illusory foundations of authority, particularly in Wotan's arc, where disguises and proxies mask his direct involvement in worldly affairs, symbolizing a god's futile attempt to evade the consequences of his own treaties and desires. For instance, Wotan's use of cunning akin to the Tarnhelm's effects—through Loge and later the Wanderer guise—highlights how divine power erodes when sustained by falsehoods rather than genuine renunciation or redemption.[31] In Siegfried's hands, the helmet enables impersonation of Gunther to abduct Brünnhilde, deceiving her into submission and forging the betrayal that propels the cycle toward catastrophe, thus illustrating deception as the mechanism by which heroic vitality is corrupted into tyrannical possession.[32] Psychoanalytic readings, such as those drawing on Jungian archetypes, view the Tarnhelm as conferring not just shape-shifting prowess but the inherent capacity for deceit, forming a chain of causality where power's pursuit loops into self-enslavement, as seen in its progression from Alberich's forge to the ring's curse.[33] This motif aligns with broader Wagnerian critique of modernity, where technological or magical equivalents to the Tarnhelm—representing human ingenuity turned to domination—expose the lovelessness of power structures built on misperception, contrasting with the redemptive potential of unvarnished truth and love.[34] Such interpretations caution against illusions that promise mastery but deliver isolation, a realism grounded in the opera's narrative logic where every Tarnhelm-aided triumph sows the seeds of its own reversal.[35]

Political and Historical References

Nazi appropriation and Nacht und Nebel

In Richard Wagner's Das Rheingold (premiered 1869), the dwarf Alberich dons the Tarnhelm to invoke its power of invisibility and shape-shifting, chanting the incantation "Nacht und Nebel, niemand gleich!" ("Night and fog, resembling no one!") as he vanishes from sight to evade detection and torment his brother Mime.[13] This phrase encapsulates the helmet's magical concealment, drawing from Germanic mythological motifs of deception and obscurity adapted by Wagner.[36] The Nazis appropriated this Wagnerian imagery in the "Nacht und Nebel" decree, issued by Adolf Hitler on December 7, 1941, and formalized by the High Command of the Armed Forces (OKW) on December 12, 1941.[37] The directive instructed the Gestapo and other security forces to arrest and deport individuals in occupied Western Europe—primarily suspected resistance fighters, political activists, and saboteurs—without trial or notification to families, aiming to make victims "disappear" into concentration camps like Natzweiler-Struthof or Sachsenhausen, fostering terror through uncertainty.[37] By March 1942, it had expanded to include civilians, resulting in an estimated 7,000–10,000 deportations, with high mortality rates due to harsh conditions and executions; for instance, of 1,654 Norwegian victims identified post-war, only 568 survived.[38] The decree's title directly echoed the Tarnhelm spell, symbolizing the regime's intent to render targets invisible and traceless, much like Alberich's magical evasion.[36] This naming reflected the Nazi regime's broader veneration of Wagner—evident in Hitler's frequent attendance at Bayreuth Festival performances from 1923 onward and the state's subsidization of Wagnerian productions—as a source of mythic Aryan symbolism for justifying total war and extermination policies. While the Tarnhelm itself was not adopted as a literal emblem (unlike runes or swastikas repurposed from Norse lore), its invocation here repurposed Wagner's motif of stealthy power for euphemistic cover of genocide, aligning with the regime's pseudomythological framing of violence as heroic destiny. Post-war Nuremberg trials prosecuted figures like Otto Hoffmann for implementing the decree, highlighting its role in systematic disappearances.[39]

Broader political metaphors

In socialist interpretations of Wagner's Der Ring des Nibelungen, the Tarnhelm serves as a metaphor for the deceptive mechanisms of industrial capitalism, enabling the wielder to manipulate appearances, multiply influence, and exert control through technological or economic "magic." George Bernard Shaw, in his 1898 commentary The Perfect Wagnerite, frames Alberich's forging of the Tarnhelm in Nibelheim—the subterranean realm symbolizing the factory system—as emblematic of how capitalists renounce natural human relations (love) to harness machinery's transformative power, allowing shape-shifting exploitation and the illusion of omnipresence in markets.[40] Shaw attributes this to Wagner's revolutionary socialist phase, where the artifact critiques how capital disguises its predatory nature, much like politicians or industrialists veil self-interest under promises of progress.[41] Marxist literary analyses extend this to the Tarnhelm embodying the commodity's contradictory essence: a tangible object masking abstract social relations of production, fostering alienation and power imbalances in political economy. In Adorno-inspired readings, the helmet's ability to alter form parallels how bourgeois ideology phantasmagorically transforms labor's exploitation into apparent freedom, deceiving the proletariat into accepting hierarchical structures.[42] This symbolism underscores causal critiques of state-capital symbiosis, where "invisibility" via the Tarnhelm evokes propaganda's role in obscuring class antagonisms, prioritizing empirical observation of power dynamics over idealistic narratives of mutual benefit. In jurisprudential and political philosophy, the Tarnhelm contrasts tyrannical power (Alberich's forge-born deception) with quasi-legitimate authority (Wotan's treaties), metaphorically illustrating how raw coercion relies on illusionary tools to subvert contractual order. Scholarly examinations position Alberich's mastery of the artifact as the archetype of despotic rule, enabling unchecked surveillance and metamorphosis that erode rule-of-law principles, while Wotan's indirect reliance on it highlights the fragility of even "enlightened" governance tainted by expediency. Such readings, drawing from Wagner's Feuerbachian materialism, emphasize first-principles causality: power sustained by deception inevitably corrupts, as evidenced in the cycle's narrative arc toward systemic collapse, cautioning against overreliance on symbolic manipulations in modern statecraft.

Influence in Popular Culture

Literature and adaptations

The Tarnhelm appears in several prose adaptations of Wagner's Der Ring des Nibelungen, which render the operatic cycle into narrative form while preserving its mythological elements, including the helmet's transformative and invisibility powers. One such example is The Book of the Ring (2014), a novelistic rendition that recounts the full tetralogy, depicting the Tarnhelm's forging by Mime and its use by Alberich for shape-shifting into a dragon and toad during negotiations with Wotan.[43] These adaptations aim to make the story accessible beyond musical performance, emphasizing the artifact's role in enabling deception and power struggles central to the plot. In modern fantasy literature, the Tarnhelm inspires original narratives that transplant its magical properties into contemporary or satirical contexts. Tom Holt's comic novel Expecting Someone Taller (1987) features a hapless British civil servant inheriting the Rhinegold, the One Ring, and the Tarnhelm from his Wagner-obsessed uncle; the protagonist employs the helmet to alter his appearance amid gods' and giants' pursuits, blending humor with the artifact's themes of illusion and unintended consequences.[44] Holt's sequel, Who's Afraid of Beowulf? (1988), extends this universe, with the Tarnhelm facilitating disguises in a chaotic mythological revival among modern humans.[45] Graphic novel adaptations have also incorporated the Tarnhelm, visualizing its effects in sequential art. P. Craig Russell's multi-volume The Ring of the Nibelung (first collected 2014), adapted from Wagner's libretto, illustrates key scenes such as Alberich's transformations and Siegfried's use of the helmet to impersonate Gunther, employing dynamic panels to convey the artifact's eerie metamorphic capabilities.[46] An earlier comics version by Roy Thomas and Gil Kane (1977) similarly dramatizes the Tarnhelm's role in the cycle's betrayals and quests.[47] These works extend the Tarnhelm's influence into visual literature, prioritizing fidelity to Wagner's narrative while adapting for non-operatic media.

Video games and modern media

In the action role-playing game Diablo II (2000), Tarnhelm manifests as a unique Skull Cap helmet, offering players +1 to all skills, +100% enhanced defense, and a chance for up to 50% increased magic find, directly inspired by its mythological shapeshifting and deceptive properties from Wagner's cycle.[48] This item drops from various monsters and remains a staple for early-game builds emphasizing loot efficiency in both the original release and its Lord of Destruction expansion (2001).[49] The 2015 historical RPG Darklands, set in 15th-century Germany, features a quest from a Trier pharmacist to retrieve Siegfried's Tarnhelm, located southeast of Worms, tying into the artifact's Nibelung lore amid the game's alchemical and saintly mechanics.[50] The 2012 expansion Operation Tarnhelm for the real-time strategy game Naval War: Arctic Circle derives its title from the helmet, evoking themes of concealment and strategic deception in a modern naval conflict scenario over Arctic resources.[51] Released by Turbo Tape Games, it extends the base game's focus on asymmetric warfare with new units and missions.[52] Direct references in non-video game modern media, such as film or television, are scarce, though the Tarnhelm's leitmotif has influenced adaptive scoring techniques in interactive media, paralleling Wagnerian motifs in video game soundtracks for evoking transformation and illusion.[53]

References

  1. Synopsis: Das Rheingold - Metropolitan Opera
  2. Das Rheingold | The Ring Cycle - Lyric Opera of Chicago
  3. The Rhinegold - richard-wagner.org
  4. The Ring of the Nibelung - The Kennedy Center
  5. The Story of The Rhinegold? Plot, Synopsis & More - ENO
  6. Ring of the Nibelung Rhinegold - Larry Avis Brown
  7. Tarnhelm (magic helmt; Alberich creation?)
  8. Mime - Oxford Reference
  9. Das Rheingold | Wagneropera.net
  10. Der Ring des Nibelungen - Epic Saga, Norse Mythology ... - Britannica
  11. Götterdämmerung - LAITS
  12. Siegfried | The Ring Cycle | Lyric Opera of Chicago
  13. Das Rheingold Libretto (English-German) - Opera by Richard Wagner
  14. Das Rheingold — An Overview - Opera Today
  15. Siegfried - richard-wagner.org
  16. Synopsis: Das Rheingold - von Richard Wagner - Opera Guide
  17. Summary of “The Rhinegold” in 3 Minutes - Opera Synopsis
  18. Das Rheingold, Richard Wagner - LA Phil
  19. Siegfried | Metropolitan Opera
  20. Siegfried - OperaVision
  21. Synopsis: Götterdämmerung - Metropolitan Opera
  22. Götterdämmerung | The Ring Cycle - Lyric Opera of Chicago
  23. Götterdämmerung - Twilight of the Gods | Wagneropera.net
  24. Opera Profile: Wagner's 'Götterdämmerung,' The Finale of 'Der Ring ...
  25. 6 - From Nibelheim to Hollywood: the associativity of harmonic ...
  26. Richard Wagner: The Lighter Side
  27. Musical Motives in Wagner's Ring - or Leitmotifs for Dummies
  28. Richard Wagner - Leitmotifs in Der Ring des Nibelungen - brebru.com
  29. A List of Musical Motives (Leitmotive, leitmotifs) in the Ring - Monsalvat
  30. About This Recording - Naxos Records
  31. Ring of the Nibelung Siegfried - Larry Avis Brown
  32. BBC Radio 3 - Götterdämmerung – the plot essentials - BBC
  33. C.G Jung and Wagner – Rainy Götterdämmerung in Munich. | stOttilien
  34. https://www.bostonwagnersociety.org/blog/the-ring-as-a-whole-embracing-gtterdmmerung
  35. https://www.bostonwagnersociety.org/blog/m00n5gc0g1ht44zbw8mw78fx8k15j4
  36. Night and Fog - Music and the Holocaust - World ORT
  37. Night and Fog Decree - Holocaust Encyclopedia
  38. Nacht und Nebel« – Mythos und Bedeutung - GedenkstättenForum
  39. Nuremberg Trial Proceedings Vol. 20 - 192 - The Avalon Project
  40. The Perfect Wagnerite: A Commentary on the Niblung's Ring
  41. Interpretations (Part III) - The Cambridge Companion to Wagner's ...
  42. Wish Images and Phantasmagoria in Wagner - jstor
  43. The Book of the Ring: A novelistic rendition of Wagner's Music ...
  44. WOTAN WANTS HIS TOYS BACK - The New York Times
  45. Expecting Someone Taller and Who's Afraid of Beowulf? by Tom Holt
  46. The Ring of the Nibelung by P. Craig Russell | Goodreads
  47. The Ring of the Nibelung/Roy Thomas and Gil Kane - The Silver Key
  48. Tarnhelm | Diablo 2 Wiki | Helm Stats & Modifiers
  49. what monster drops Tarnhelm? - Diablo II: Lord of Destruction
  50. Tarnhelm quest? :: Darklands General Discussions
  51. Naval War: Arctic Circle - Operation Tarnhelm (2012) - MobyGames
  52. Naval War Arctic Circle: Operation Tarnhelm released!
  53. [PDF] Understanding The Leitmotif From Wagner To Hollyw
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