Richard Wagner: Parsifal

Art which transcends its own time, in addition to mirroring the artist’s quest for truth, is also a source of inspiration for those who contact it. Such art is often extremely complex and its profound meaning difficult to discern. Richard Wagner is one of the most controversial and wholly misunderstood artists of the past 200 years; and his opera Parsifal one of the most complicated works.

Wagner felt the first impulse to write Parsifal at the age of 31. He was in Marienbad working on the opera Lohengrin when he read Wolfram von Eschenbach’s Parzival. This epic poem brings together various mythical traditions; Wagner later added elements from other legends. Three years later, in 1848, the main features of Parsifal flowed over into the draft of a drama entitled “Jesus of Nazareth,” in which Mary Magdalene takes the place of Kundry. In May 1856 Wagner wrote the draft for a Buddhist drama with the working tide “Der Sieger” (“The Victor”), in which the features of what later became Parsifal are already clear. Wagner spent Good Friday 1858 in his Zurich retreat where he had a vision and decided on the main motifs of the opera.

In the years that followed, individual characters began to take shape. At the same time, however, Wagner experienced the immense difficulties presented by the subject matter. Time and again he postponed committing anything to paper — he was plagued with such doubts that he felt like giving up the whole idea. It was not until August 1865 that he wrote a detailed draft at King Ludwig II’s insistence. But a further twelve years elapsed before the work was completed in April 1877, being published in book form the same year. The composition of the music took five more years, and only on July 26, 1882, did the first performance take place in the “Haus Wahnfried” in Bayreuth. Thirty-seven years had gone by between the first idea for the work and its completion.

Concerning Wagner’s knowledge of occultism, we know he was acquainted with Freemasons, with whom he entered into fierce debate, and with the Rosicrucians. In his library, now situated in Bayreuth and open to the public, there are translations of the Upanishads and the Mahabharata, which were just being published in his time. I suspect that Richard Wagner had exceptional intuitive abilities and could see many extremely subtle realms and interrelations directly; also that he suffered deeply because all too often he simply could not find the words to express what took place so clearly before his spiritual eye. It is therefore understandable that he identified with the figure of Amfortas: Wagner believed in living life to the full; he also saw things but could not grasp them. The basic spiritual tendency running through the opera is compassion or buddhi. Reincarnation and karma are clearly described in several places — without them the whole drama would be inexplicable.

A number of symbols and mythical elements are important for a general understanding of the work. First, the symbol of the Grail combines elements of legends from Persia and Asia Minor with those from Celtic mythology. The Grail, the cup which Jesus Christ used at the Last Supper, was made from the stone which fell from Lucifer’s crown as he plunged to earth. Lucifer (the Light-bringer) brought the mental principle to evolving humanity. The stone from Lucifer’s crown can therefore be regarded as ego-consciousness or “I am I”: without the awakening mind principle humanity would not be able to acquire knowledge, and the first step along this path is “I am I.” That this stone was fashioned into a cup or bowl which was used to catch the blood of Christ elevates its meaning because it then stands for the divine self, atma-buddhi. As Wagner remarked, it becomes “Grail consciousness” — purified, redeemed “I am.” The Grail is entrusted to Titurel. He gathers a brotherhood of knights around him, called the knights of the Grail, who devote themselves to the service of this Grail consciousness through noble deeds.

A second important symbol is the spear, derived from the spear of Longinus who, it is said, thrust it into Christ’s side during the crucifixion, shedding the Savior’s blood. It stands for higher mind, that part of us which must decide whether the mind will aspire to spirit or succumb to material desire.

A third central symbol is the swan, denoting the north. Wagner uses the swan as a symbol of those beings who, though still devoid of individual consciousness, are located in the divine realms, but have their whole development before them; this symbol is identical with that of the angel. In the last scene a dove appears, symbol according to Wagner of “divine spirit, which floats down idealistically onto the human soul.” It is the Holy Ghost or Spirit — atma-buddhi.

The first act of the opera, which takes place in the realm of the Grail, begins with trombones sounding the reveille. Gurnemanz, teacher and guardian of the secret wisdom of the Grail, wakens two squires lying asleep under a tree, saying: “Do you hear the call? Give thanks to God that you are called to hear it!” That the reveille sounds from the realm of the Grail indicates that it is a spiritual call. Buddhi penetrates the consciousness of the awakening men and Gurnemanz feels it to be a blessing. He calls on his pupils to give thanks, for he knows that few are granted the privilege of feeling this call of buddhi.

At this time Amfortas, King of the Grail, lies sick and wounded, the wound being an external symbol for inner events. In his striving towards higher things, Amfortas battled in the realm of the lower mind ruled by the black magician Klingsor and lost the spear (mind). Klingsor wounded him in his side with the spear, a wound which will not heal. This wound is the pivot of all further action. It is the fissure between the higher self and the personal self, caused by the fact that the mental principle was directed into the earthly realm where it is now ruled by Klingsor, or mind linked with desire. Gurnemanz and the squires, impelled by buddhi, now try to alleviate the pain suffered by the King of the Grail. They wish to bathe the wound, though Gurnemanz in his wisdom knows this will be of no avail. The King’s wound, an inner wound, cannot be closed by baths or ointments. Wrapped in thought, he sings: “There is but one thing can help him, only one man.” When a knight asks the man’s name, he avoids answering.

Then Kundry enters the scene, appearing wild one moment, lifeless the next. She presses on Gurnemanz a small crystal vessel containing balsam with which Amfortas might be healed. Kundry personifies the desire nature, messenger and temptress at the same time. On the one hand, desire binds us to earthly things, while on the other it provides the first impulses to understand what is hidden. Thus Kundry serves both the Grail and also, as temptress, Klingsor who seeks to divert people from the quest for the divine through the power of the senses. Wagner remarks that the black magician

beclouds the divine judgment of man through the sense impressions of the material world, and thereby leads him into a world of deception.

A dispute arises between the knights of the Grail and Gurnemanz about Kundry (desire). The squires mistrust her, but Gurnemanz says:

Yes, she may be under a curse. She lives here now — perhaps reincarnated, to expiate some sin from an earlier life not yet forgiven there. Now she makes atonement by such deeds as benefit our knightly order; she has done good, beyond all doubt, serving us and thereby helping herself.

Naturally, Kundry was also involved when Klingsor seized the spear of mind from Amfortas.

In his pain, Amfortas addresses the Grail and asks for a sign of help. In a vision he describes how someone will come to help him: “Enlightened through compassion, the innocent fool; wait for him, the appointed one.” This announcement of the foolish innocent (“Fal parsi,” hence Parsifal) refers to the reincarnating ego, which hastens from life to life. If the reincarnating ego gives full expression to its divine individuality in its personal life, the inner fissure — the wound — will be closed again, for the mind which has been directed to things of matter will be turned back to the divine.

Before divinity can be attained, however, human evolution has to be experienced. At the outset, mankind is completely unself-conscious and lives in a state of divine innocence, untouched by things of matter and without an independent mind, a state symbolized by the swan. It has to leave this state, descend to the physical realm, and experience all the conflicts that evolution entails. Through the associated suffering and the development of the thinking principle, humans learn from their own experience to feel compassion for other beings.

These developments find their corollary in the departure of young people from their parental home, the maternal plane. Such a departure is often very difficult and may be accompanied by a great deal of pain and many reproaches; but this break is absolutely necessary if young people are to go through their own experiences and develop the ability to think for themselves, though this simultaneously causes the maternal principle much grief. The result is often condemnation by one’s fellowmen.

This “descent” or gaining of independence by the monad is represented by Wagner in the slaying of the swan by Parsifal. Gurnemanz sternly reproaches Parsifal for killing the swan with an arrow. Parsifal is at first filled with childlike pride at his accuracy but becomes increasingly disturbed when he looks at the dead bird, and for the first time he feels pity. Gurnemanz inquires of Parsifal his name and origin, but Parsifal cannot remember and replies: “I had many, but I know none of them any more.” The only name he remembers is that of his mother: Herzeleide (Heart’s Sorrow). Kundry is able to provide more information about his origin: his father was killed in battle, and his mother ” reared him up in the desert to folly, a stranger to arms.” Parsifal nevertheless recalls that one day he saw the knights of the Grail riding along the forest’s edge: “I ran after them, but could not overtake them; through deserts I wandered, up hill and down dale.”

The monad yearns for more than a solitary, peaceful life. Kundry confirms this, and informs him of his mother’s death. Parsifal springs furiously at her, but Gurnemanz restrains him. Thus although the monad is endowed with a feeling of right and wrong, mind is not yet fully developed. It therefore turns, in conjunction with desire, to anger and rage. Gurnemanz, the initiate, restrains him.

The rest of the opera describes what takes place during this descent of the human monad. Gurnemanz has already recognized that Parsifal is someone who can restore the divine harmony. He offers to lead him to the feast of the Grail. Both move into their inner, spiritual realms, represented by the temple of the Grail. This realm lies beyond the differentiation of space and time. Hence Parsifal remarks: “I scarcely tread, yet seem already to have come far.”

Gurnemanz answers: “You see, my son, time here becomes space.” This is because the inner vision appears to the physical person as space. Gurnemanz warns Parsifal to pay close attention to everything he encounters and later to take it back into the realm of his personal consciousness. Before them both a scene opens with a pillared hall where the knights of the Grail carry in Amfortas. The covered shrine of the Grail is carried before them. In the background can be heard the voice of Titurel, the former guardian of the Grail, who received the Cup from the angel’s hands and learned the occult mysteries in an inner vision. He says, “Amfortas, my son, are you in your place? Shall I again today look on the Grail and live?” This indicates that the life forces of spiritual traditions steadily weaken if they are not renewed by intuitive, creative individuals. Time and again attempts are made to establish a spiritual, compassionate brotherhood. If, however, the innovators fail, the effort comes to a standstill; the teachings ossify, and what used to be the content becomes a veil, until nothing is left of the original impulse. Titurel must therefore die.

So Titurel calls upon Amfortas to view the Grail. But Amfortas is incapable of doing so — he has lost the mental principle to Klingsor, the lower mind. Titurel now calls for the uncovering of the Grail, the revelation of occult wisdom. When, at his insistence, this takes place, Amfortas is racked with pain: for those imprisoned in the lower mind, the sight of divine wisdom is unbearable. The tragedy of such a situation is clear. On the one hand, such people are impelled by divine, buddhic impulses; on the other, they are completely entangled in the world of deception and sensuality. When the full, idealistic nature of the Grail appears to Amfortas, so great becomes his despair that he begs to die. But the Chorus sings again: “Enlightened through compassion, the innocent fool: wait for him, the appointed one.”

Gurnemanz, who led Parsifal to this inner vision, stands beside Parsifal throughout the scene. At the end he asks Parsifal: “Do you know what you have seen?” But Parsifal cannot answer, as he is overcome by the suffering he has seen. Gurnemanz angrily dismisses him. Parsifal is not yet able to help, as this requires more than just a vision of things occult. He must first acquire occult knowledge on the physical plane. This alone will enable him to internalize what he has seen and make it part of his consciousness. Only in this way can the divine be carried over into all realms.

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The Occultic

The whole essence of truth cannot be transmitted from mouth to ear. Nor can any pen describe it, not even that of the recording Angel, unless man finds the answer in the sanctuary of his own heart, in the innermost depths of his divine intuitions. — The Secret Doctrine

How are those “innermost depths” to be sounded, so that knowledge of reality may be won? Through training, discipline, and self-born wisdom. Such training and soul-discipline is the distinguishing mark of the Mystery colleges, which since their inauguration have been divided into two parts: the exoteric form commonly known as the Lesser Mysteries, open to all sincere and honorable candidates for deeper learning; and the esoteric form, or the Greater Mysteries, whose doors open but to the few and whose initiation into adeptship is the reward of those whose interior nobility enables them to undergo the solar rite.

Universal testimony of stone and papyrus, symbol and allegory, cave and crypt, tells of the twofold trial of neophytes. Jesus the Avatara spoke to the multitudes in parable, but “when they were alone, he expounded all things to his disciples” (Mark 4:34). The Essenes had their greater and minor Mysteries, in the former of which Jesus of Nazareth is believed to have been initiated.

The Chinese Buddhists hold to a well-loved tradition that Buddha Gautama had two doctrines: one for the people and his lay-disciples; the other for his arhats. His invariable principle was to refuse no one admission into the ranks of candidates for Arhatship, but never to divulge the final mysteries except to those who had proved themselves, during long years of probation, to be worthy of Initiation.

Intensity of purpose marks the Hebrew initiates in their shrouding of inner teaching. To the multitude they taught the Torah, the “Law,” but to the few they taught its unwritten interpretation, the “Secret Wisdom” — hokhmah nistorah — “in ‘darkness, in a deserted place, and after many and terrific trials.’ . . . Delivered only as a mystery, it was communicated to the candidate orally, `face to face and mouth to ear.’ ” The Persian and Chaldean Magi also were of two castes: “the initiated and those who were allowed to officiate in the popular rites only” (Isis Unveiled).

Eleusis and Samothrace are limned in exquisite silhouette against the blue-black sky of history. Classical scholars tell us that the Lesser Mysteries were conducted in the springtime at Agrai near Athens, while the Greater Mysteries were celebrated in the autumn at Eleusis. In the Lesser Mysteries the candidates who experienced the first rites were called mystai (the closed of eye and mouth). In the Greater Mysteries the mystai became epoptai (the clear-seeing), who participated in the mysteries of the Divine Elysion — i.e., communion with the divine.

Similarly, the Hindu arhat, the Scandinavian skald, and the Welsh bard guarded the soul of esotericism with the sanctity of their lives and the discipline of their sacred tradition:

Belonging to every temple there were attached the “hierophants” of the inner sanctuary, and the secular clergy who were not even instructed in the Mysteries. — Isis Unveiled.

Further, in all ancient countries “every great temple had its private or secret Mystery-School which was unknown to the multitude or partially known,” and which was attached to it as a secret body. A Mystery school is not necessarily a school of people situated at some specific place, with definite and fixed locality throughout time, and with physical conditions of environment always alike. Wherever the need is great, work must be done; and the “mistake of all scholars and mystics is to put too much emphasis upon places as Mystery-Schools” (Studies in Occult Philosophy).

A Mystery school is not dependent on location; rather it is an association or brotherhood of spiritually disciplined individuals bound by one common purpose, service to humanity, a service intelligently and compassionately rendered because born of love and wisdom. It is a fact, nevertheless, that certain centers appear to be more favorable to success in spiritual things than others. Why, for instance, were the ancient seats of the Mysteries almost invariably in rock-temple or subterranean cave, in forest or mountain pass, in pyramid chamber or temple crypt? Because the currents of the astral light become quieter, more peaceful, cleaner, the farther removed from the madding crowd. Rarely will one find a seat of esoteric training near a large metropolis, for such are “swirling whirlpools . . . ganglia, nerve-centers, in the lower regions of the Astral Light” (Esoteric Tradition).

Hence the locations of the Greater Mysteries were usually carefully chosen and their schools were those which paid no attention to buildings of any kind, mainly for the reason that buildings would at once attract attention and draw public notice, which is the very thing that these more secret, more esoteric Schools tried to avoid. Thus sometimes, when the temples were mere seats of exoteric ritual, the Mystery-Schools were held apart in secret, conducting their gatherings, meetings, initiations, initiatory rites, usually in caves carefully prepared and hid from common knowledge, occasionally even under the open sky as the Druids did among the oaks in their semi-primeval forests in Britain and in Brittany; and even in a few cases having no permanent or set location; but the Initiates receiving word where to meet from time to time, and to carry on their initiatory functions. — Studies in Occult Philosophy. 

It is the places of quiet, of peace, of strong silence, where the Adepts find themselves drawn, and where the secret or Greater Mysteries can most effectively function. There in the recesses of their initiation chambers the forces and currents are those of the higher astral light, the akasa, the tenuous substance which responds to the higher currents of spirit and intellect. In this way does the Brotherhood transmit its potent spiritual vitality to the initiation halls, and the candidate whose seven-rayed soul is attuned may receive the divine imprint.