Parsifal Part 2

"Kundry!" The time is come, the spells are woven--blue vapors rise, and in the midst of the blue vapors the figure of the still sleeping Kundry is seen. She wakes, trembling violently; she knows she is again under the spell she abhors--the spell to do evil, the mission to corrupt.

With a shuddering scream she stands before her tormentor, denying his power, loathing to return to her vile mission, yet returning, as with a bitter cry she vanishes from his presence.

Parsifal has invaded Klingsor's realm; the evil knights have fled before his prowess, wounded and in disorder. Kundry is commissioned to meet the guileless youth in the enchanted garden, and, all other allurements failing, to subdue him by her irresistible fascinations and hand him over to Klingsor.

In a moment the scenery lifts, and a garden of marvelous beauty and extent lies before us. The flowers are all of colossal dimensions--huge roses hang in tangled festoons, the cactus, the lily, the blue-bell, creepers, and orchids of enormous size and dazzling color wave in midair, and climb the aromatic trees.

On a bright hill appears Parsifal, standing bewildered by the light and loveliness around him. Beautiful girls dressed like flowers, and hardly distinguishable from them at first, rush in, bewailing their wounded and disabled knights, but, on seeing Parsifal, fall upon their new prey, and, surrounding him, sing verse after verse of the loveliest ballet music, while trying to embrace him, and quarreling with each other for the privilege.

About that wonderful chorus of flower-girls there was just a suggestive touch of the Rhine maidens' singing. It belonged to the same school of thought and feeling, but was freer, wilder--more considerable, and altogether more complex and wonderful in its changes and in the marvelous confusion in which it breaks up.

The "guileless one" resists these charmers, and they are just about to leave him in disgust, when the roses lift on one side, and, stretched on a mossy bank overhung with flowers, appears a woman of unearthly loveliness. It is Kundry transformed, and in the marvelous duet which follows between her and Parsifal, a perfectly new and original type of love duet is struck out--an a.n.a.lysis of character, unique in musical drama--a combination of sentiment and a situation absolutely novel, which could only have been conceived and carried out by a creative genius of the highest order.

First, I note that the once spellbound Kundry is devoted utterly to her task of winning Parsifal. Into this she throws all the intensity of her wild and desperate nature; but in turn she is strangely affected by the spiritual atmosphere of the "guileless one"--a feeling comes over her, in the midst of her witchcraft pa.s.sion, that he is in some way to be her savior too; yet, womanlike, she conceives of her salvation as possible only in union with him. Yet was this the very crime to which Klingsor would drive her for the ruin of Parsifal. Strange confusion of thought, feeling, aspiration, longing--struggle of irreconcilable elements! How shall she reconcile them? Her intuition fails her not, and her tact triumphs. She will win by stealing his love through his mother's love.

A mother's love is holy; that love she tells him of. It can never more be his; but she will replace it, her pa.s.sion shall be sanctified by it; through _that_ pa.s.sion she has sinned, through it she, too, shall be redeemed. She will work out her own salvation by the very spells that are upon her for evil. He is pure--he shall make her pure, can she but win him; both, by the might of such pure love, will surely be delivered from Klingsor, the corrupter, the tormentor. Fatuous dream! How, through corruption, win incorruption? How, through indulgence, win peace and freedom from desire? It is the old cheat of the senses--Satan appears as an angel of light. The thought deludes the unhappy Kundry herself; she is no longer consciously working for Klingsor; she really believes that this new turn, this bias given to pa.s.sion, will purify both her and the guileless, pure fool she seeks to subdue.

Nothing can describe the subtlety of their long interview, the surprising turns of sentiment and contrasts of feeling. Throughout this scene Parsifal's instinct is absolutely true and sure. Everything Kundry says about his mother, Herzeleide, he feels; but every attempt to make him accept her instead he resists. Her desperate declamation is splendid. Her heartrending sense of misery and piteous prayer for salvation, her belief that before her is her savior could she but win him to her will, the choking fury of baffled pa.s.sion, the steady and subtle encroachments made while Parsifal is lost in a meditative dream, the burning kiss which recalls him to himself, the fine touch by which this kiss, while arousing in him the stormiest feelings, causes a sharp pain, as of Amfortas's own wound, piercing his very heart--all this is realistic, if you will, but it is realism raised to the sublime.

Suddenly Parsifal springs up, hurls the enchantress from him, will forth from Klingsor's realm. She is baffled--she knows it; for a moment she bars his pa.s.sage, then succ.u.mbs; the might of sensuality which lost Amfortas the sacred spear has been met and defeated by the guileless fool. He has pa.s.sed from innocence to knowledge in his interview with the flower-girt girls, in his long converse with Kundry, in her insidious embrace, in her kiss; but all these are now thrust aside; he steps forth still unconquered, still "guileless," but no more "a fool."

The knowledge of good and evil has come, but the struggle is already pa.s.sed.

"Yes, sinner, I do offer thee Redemption," he can say to Kundry; "not in thy way, but in thy Lord Christ's way of sacrifice!"

But the desperate creature, wild with pa.s.sion, will listen to no reason; she shouts aloud to her master, and Klingsor suddenly appears, poising the sacred spear. In another moment he hurls it right across the enchanted garden at Parsifal. It can not wound the guileless and pure one as it wounded the sinful Amfortas. A miracle! It hangs arrested in air above Parsifal's head; he seizes it--it is the sacred talisman, one touch of which will heal even as it inflicted the king's deadly wound.

With a mighty cry and the shock as of an earthquake, the castle of Klingsor falls shattered to pieces, the garden withers up to a desert, the girls, who have rushed in, lie about among the fading flowers, themselves withered up and dead. Kundry sinks down in a deathly swoon, while Parsifal steps over a ruined wall and disappears, saluting her with the words: "Thou alone knowest when we shall meet again!"

The long shadows were stealing over the hills when I came out at the second pause. Those whom I met and conversed with were subdued and awed. What a solemn tragedy of human pa.s.sion we had been a.s.sisting at!

Not a heart there but could interpret that struggle between the flesh and the spirit from its own experiences. Not one but knew the desperately wicked and deceitful temptations that come like enchantresses in the wizard's garden, to plead the cause of the devil in the language of high-flown sentiment or even religious feeling.

Praise and criticism seemed dumb; we rather walked and spoke of what we had just witnessed like men convinced of judgment, and righteousness, and sin. It was a strange mood in which to come out of a theater after witnessing what would commonly be called an "Opera." I felt more than ever the impossibility of producing the _Parsifal_ in London, at Drury Lane or Covent Garden, before a well-dressed company of loungers, who had well dined, and were on their way to b.a.l.l.s and suppers afterward.

I would as soon see the Oberammergau play at a music-hall.

No; in _Parsifal_ all is solemn, or all is irreverent. At Bayreuth we came on a pilgrimage; it cost us time, and trouble, and money; we were in earnest--so were the actors; the spirit of the great master who had planned every detail seemed still to preside over all; the actors lived in their parts; not a thought of self remained; no one accepted applause or recall; no one aimed at producing a personal effect; the actors were lost in the drama, and it was the drama and not the actors which has impressed and solemnized us. When I came out they asked me who was Amfortas? I did not know. I said "the wounded king."

As the instruments played out the Faith and Love motive for us to reenter, the mellow suns.h.i.+ne broke once more from the cloud-rack over city, and field, and forest, before sinking behind the long low range of the distant hills.

Act III

The opening prelude of the third and last act seems to warn me of the lapse of time. The music is full of pain and restlessness--the pain of wretched years of long waiting for a deliverer, who comes not; the restlessness and misery of a hope deferred, the weariness of life without a single joy. The motives, discolored as it were by grief, work up to a distorted version of the Grail subject, which breaks off as with a cry of despair.

Is the Grail, too, then turned into a mocking spirit to the unhappy Amfortas?

Relief comes to us with the lovely scene upon which the curtain rises.

Again the wide summer-land lies stretching away over sunlit moor and woodland. In the foreground wave the forest trees, and I hear the ripple of the woodland streams. Invariably throughout the drama, in the midst of all human pain and pa.s.sion, great Nature is there, peaceful, harmonious in all her loveliest moods, a paradise in which dwell souls who make of her their own purgatory.

In yonder aged figure, clad in the Grail pilgrim robe, I discern Gurnemanz; his hair is white; he stoops with years; a rude hut is hard by. Presently a groan arrests his attention, moaning as of a human thing in distress. He clears away some brushwood, and beneath it finds, waking from her long trance, the strange figure of Kundry. For how many years she has slept we know not. Why is she now recalled to life? She staggers to her feet; we see that she too is in a pilgrim garb, with a rope girding her dress of coa.r.s.e brown serge. "Service! service!" she mutters, and, seizing a pitcher, moves mechanically to fill it at the well, then totters but half awake into the wooden hut. The forest music breaks forth--the hum of happy insect life, the song of wild birds. All seems to pa.s.s as in a vision, when suddenly enters a knight clad in black armor from top to toe.

The two eye him curiously, and Gurnemanz, approaching, bids him lay aside his armor and his weapons. He carries a long spear. In silence the knight un-helms, and, sticking the spear into the ground, kneels before it, and remains lost in devotional contemplation. The "Spear" and "Grail" motives mingle together in the full tide of orchestral sounds carrying on the emotional undercurrent of the drama. The knight is soon recognized by both as the long-lost and discarded Parsifal.

The "guileless one" has learned wisdom, and discovered his mission--he knows now that he bears the spear which is to heal the king's grievous wound, and that he himself is appointed his successor. Through long strife and trial and pain he seems to have grown into something of Christ's own likeness. Not all at once, but at last he has found the path. He returns to bear salvation and pardon both to Kundry and the wretched king, Amfortas.

The full music flows on while Gurnemanz relates how the knights have all grown weak and aged, deprived of the vision and sustenance of the Holy Grail, while the long-entranced t.i.turel is at last dead.

At this news Parsifal, overcome with grief, swoons away, and Gurnemanz and Kundry loosen his armor, and sprinkle him with water from the holy spring. Underneath his black suit of mail he appears clad in a long white tunic.

The grouping here is admirable. Gurnemanz is in the Templar's red and blue robe. Parsifal in white, his auburn hair parted in front and flowing down in ringlets on either side, recalls Leonardo's favorite conception of the Savior's head, and, indeed, from this point Parsifal becomes a kind of symbolic reflection of the Lord Himself. Kundry, subdued and awed, lies weeping at his feet; he lifts his hands to bless her with infinite pity. She washes his feet, and dries them with the hairs of her head. It is a bold stroke, but the voices of nature, the murmur of the summer woods, come with an infinite healing tenderness and pity, and the act is seen to be symbolical of the pure devotion of a sinful creature redeemed from sin. Peace has at last entered into that wild and troubled heart, and restless Kundry, delivered from Klingsor's spell, receives the sprinkling of baptismal water at the hands of Parsifal.

The great s.p.a.ces of silence in the dialog, broken now by a few sentences from Parsifal, now from Gurnemanz, are more eloquent than many words.

The tidal music flows on in a ceaseless stream of changing harmonies, returning constantly to the sweet and slumbrous sound of a summer-land, full of teeming life and glowing happiness.

Then Gurnemanz takes up his parable. It is the Blessed Good Friday on which our dear Lord suffered. The Love and Faith phrases are chimed forth, the pain-notes of the Cross agony are sounded and pa.s.s, the Grail motive seems to swoon away in descending harmonies, sinking into the woodland voices of universal Nature--that trespa.s.s-pardoned Nature that now seems waking to the day of her glory and innocence.

In that solemn moment Parsifal bends over the subdued and humbled Kundry, and kisses her softly on the brow--_her_ wild kiss in the garden had kindled in him fierce fire, mingled with the bitter wound-pain; _his_ is the seal of her eternal pardon and peace.

In the distance the great bells of Montsalvat are now heard booming solemnly--the air darkens, the light fades out, the slow motion of all the scenery recommences. Again I hear the wild cave music, strange and hollow sounding--the three move on as in a dream, and are soon lost in the deep shadows; and through all, louder and louder, boom the heavy bells of Montsalvat, until the stage brightens, and we find ourselves once more in the vast Alhambralike hall of the knights.

[Ill.u.s.tration: Copyright, 1903, by Pach Bros., N. Y.

PARSIFAL ENTERING THE GRAIL CASTLE IN TRIUMPH]

For the last time Amfortas is borne in, and the brotherhood of the Grail form the possession bearing the sacred relics, which are deposited before him.

The king, in great agony and despair, bewails the death of his father and his own backsliding. With failing but desperate energy he harangues the a.s.sembled knights, and, tottering forward, beseeches them to free him from his misery and sin-stained life, and thrust their swords deep into his wounded side. At this moment Gurnemanz, accompanied by Parsifal and Kundry, enter. Parsifal steps forward with the sacred spear, now at length to be restored to the knights. He touches the side of Amfortas, the wound is healed, and as he raises the spear on high the point is seen glowing with the crimson glory of the Grail. Then stepping up to the shrine, Parsifal takes the crystal cup, the dark blood glows bright crimson as he holds it on high, and at that moment, while all fall on their knees, and celestial music ("Drink ye all of this") floats in the upper air, Kundry falls back dying, her eyes fixed on the blessed Grail.

A white dove descends and hovers for a moment, poised in mid-air above the glowing cup. A soft chorus of angels seems to die away in the clouds beyond the golden dome--

"Marvelous mercy!

Victorious Savior!"

Words can add nothing to the completeness of the drama, and no words can give any idea of the splendor and complexity of that sound ocean upon which the drama floats from beginning to end.

The enemies of the Grail are destroyed or subdued, the wound they have inflicted is healed, the prey they claimed is rescued; the pure and blameless Parsifal becomes the consecrated head of the holy brotherhood, and the beatic vision of G.o.d's eternal love and Real Presence is restored to the knights of the Sangrail.

When I came out of the theater, at the end of the third and last act, it was ten o'clock.

The wind was stirring in the fir-trees, the stars gleamed out fitfully through a sky, across which the clouds were hurrying wildly, but the moon rose low and large beyond the shadowy hills, and bathed the misty valleys with a mild and golden radiance as of some celestial dawn.