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The story of the Holy Grail and its guardians up to the moment of Parsifal's appearance upon the scene, is we gather it from Gurnemanz's rehearsal of his memories to the youthful esquires, as follows: At a time when the pure faith of Christ was in danger from the power and craft of His enemies, there came to its defender, Titurel, angelic messengers of the Saviour's, and gave into his keeping the Chalice from which He had drunk at the Last Supper and into which the blood had been gathered from His wounds as He hung upon the Cross; likewise the Spear with which His side had been pierced.
In that act there is not a word or a note to alter. The story compels one's interest, and the music is rich, tender, and charged with a noble passion. Even the killing of the duck it is supposed to be a swan, but it is really a duck is saved from becoming ludicrous by the deep sincerity of the music of Gurnemanz's expostulations.
He relates the desperate battle in all his wanderings to keep safe the Sacred Spear, which, behold, he is now bringing home! Gurnemanz's joy bursts forth unbounded. Then he, too, makes his friend even over the past. Since the day of his presence among them, the trouble then revealed to him has increased to the last point of distress.
On reflection, this panorama seems wholly meaningless and thoroughly vulgar; and even in the theatre one wonders vaguely what it is all about for Gurnemanz's explanation about time and space being one is sheer metaphysical shoddy, a mere humbugging of an essentially uncultured German audience; but one does not mind it, so full is the accompaniment of mystical life and of colour, of a sense of impending great things.
The King takes the drug with gratitude; but she scorns thanks, and sneers at those about her with savage irony. Gurnemanz's companions are about to seize her, but the old Knight warns them that she is living incarnate to expiate the sins of a former life, and that in serving the Order of the Grail she is purchasing back her own redemption.
For instance, Gurnemanz's long narrative, into which is introduced all the motives of the opera is merely beautiful musical handicraft, and I cannot accept handicraft, however beautiful, for inspiration. I rank much higher the entrance of Kundry her evocation of Arabia.... That is a real inspiration! The over-praised choruses are beautiful, but again I have to make reservations.
She brings from the cell a water-jar, and, gazing off into the distance while it fills, sees among the trees some one approaching, to which, by a sign, she calls Gurnemanz's attention. He marvels at the figure in sable armour; but we, saddened and slowed as it is, have recognized the Parsifal-motif heralding it.
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