[ich] habe keine neuen Wörter gemacht...wohl aber habe ich zuweilen...gutem alten Golde, dessen Gepräge, wenn auch nicht den Schriftstellern, doch dem Volke noch gar wohl bekannt ist...... auch in der Schriftwelt aufs neue Geltung zu verschaffen gesucht. (ibid.)
Here, double alliteration (jammernd / Schmach - jauchzend / verschenkt) is used for emphasis, and the alliterative force of jammernd / jauchzend serves to highlight the contrast between Brünnhilde's feelings and those of Siegfried.
Floßhilde's deceptive praise of Alberich, and his response:
works out as a sort of antithesis. zagen, zucken, zehren, all relate to the same basic idea of his heart being affected, trembling for joy, and in this context perhaps zierliches Lob is somewhat inappropriate; zierlich obviously exists for the sake of the alliteration, since it is not what Floßhilde says that is zierlich, but she herself, her appearance; the "praise" of Alberich is not zierlich at all, but hyperbolic and ironic, as she proceeds to demonstrate:
The antithesis of situation is illustrated by the antithesis of language, and there is further emphasis on Wotan's obsession with Macht and Herrschaft. This idea of antithesis/opposition - but also a link between Wotan and Alberich - is illustrated by what they both say about Siegfried; they use almost identical vocabulary, as they realise that the curse cannot affect Siegfried, but of course they interpret this fact differently. Wotan expresses his willingness for Siegfried to inherit the world, whereas Alberich tells Hagen that they must now devote their efforts to the destruction of Siegfried:
Wagner occasionally uses internal rhyme, but only one example of end-rhyme, or rather assonance, can be found in the text of the Ring, in the passage in Act II of Götterdämmerung in which Brünnhilde accuses Siegfried of lying:
The alliterating words hell, heil and hehr also involve similar or related meanings, so that brightness is associated semantically with wholeness. Later, they go on to say, not only wie hell du einstens strahltest, but wie froh du einstens strahltest, reinforcing the linkage between brightness and joy, which are so often associated in Wagner's text, if only by Loge's irony, the point of which is that both Loge and the girls are aware of the hollowness and worthlessness of the gods' new grandeur. Wotan himself begins to realise this in Die Walküre, and is fully convinced of it by the end of Siegfried..
The main focus of light/dark imagery centres round Siegfried, as it does in Morris's poem. Wagner, like Morris, uses imagery connected with the contrast between light and dark.. There is a link between the light/dark contrast imagery and the imagery of fire and flame used by Wagner. Mime’s fear (fearful nature) is expressed in onomatopœic images of fire and flame. This isanother example of the perfect marriage of words and music, especially
The onomatopœia, alliteration and internal rhyme all combine to produce the effect of fear; it has the same aura of flickering sinuousness as Loge’s music, but it is here intensified to illustrate Mime’s cowardice. If we look now at Mime’s attempt to inspire Siegfried with fear, we will see that it is very similar in vocabulary and style to the passage quoted above, in which he expressed his fear (culminating in the fantasy that Fafner was about to devour him) in images of hateful light and flickering flame. I have quoted Alfred Forman's translation in parallel text, as it may help us to decide whether Morris could have been influenced by any of this vocabulary, whether consciously or unconsciously.
Wagner is demonstrating the contrast between the negative way that Wotan wants Siegfried to perceive the fire, and the joyful manner in which he in fact welcomes it. Mime had previously used fire imagery to illustrate the fear which Siegfried is incapable of feeling ; and Brünnhilde’s demand for the fire to protect her expresses the desire that the fire should be a thing of horror to all but one man:
Mir schwebt und schwankt
In Oper und Drama Wagner uses male/female polarity as a metaphor for the relationship between words and music, and the nature of the what he calls the poetic intent (die dichterische Absicht). His discussion of the nature of music involves discussion of the nature of Woman; the language of the discourse is both literal and metaphorical, in that Die Musik ist ein Weib involves using what Wagner considers to be the actual, literal nature of Woman as a metaphor for the nature of music, and the following can be interpreted both literally and metaphorically:
 Space doesn't permit us to elaborate upon this at great length, but it is interesting that the consonant cluster tr can be used to express opposing ideas, whereas the cluster br seems to be used for kinship words . ie. Treue/trennen ; Bruder/Braut.