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I don't know what the part means." "But she's a penitent. You like penitents; your Elisabeth " "Elizabeth is different. Elizabeth is an inward penitent, Kundry is an external, and you know I can do nothing with externalities." He did not understand, and it was impossible to explain without entering into a complete exposition of Ulick's idea regarding "Parsifal."
The idea of long wandering as a penalty, symbolized in "The Wandering Jew," "The Flying Dutchman," and the character of Kundry, in "Parsifal," has application in the legend of Peter Rugg.
His eyes glowed with subdued passion as he thought of an afternoon, some three years hence, in the great theatre planned by the master himself, when he should see her rush in as the Witch Kundry. The marvellous evocation of Arabia flashed upon him.... Would he ever hear her sing it?... Yes, if she would consent to go away with him he would hear her sing it. But would she go away with him?
But the vulgarly vaunted Good Friday music did not deceive him; at the second or third time of hearing he had perceived its insincerity. It was very beautiful music, but in such a situation sincerity was essential. The airs of this mock redeemer were truly unbearable, and the abjection of Kundry before this stuffed Christ revolted him.
However, I am willing to believe that Siegfried, when he kisses Brünnhilde on Hinde Fell, and Parsifal, when Kundry kisses him in Klingsor's magic garden, has each his full faculties set in action for the first time. And then?
Reparation has been made. The hero without fear is victorious. Free will, independent of the gods, will rule the world, and the gods themselves are lost in the human creation. Love is given to men, and conquers death. Friedrich-Materna as Kundry, Herr Winckelmann as Parsifal, and Herr Scaria as Gurnemanz.
Kundry, with her eyes turned toward all these luminous things, sinks softly upon the altar-steps, the life-giving Grail having given her life too, in the form of desired death. With the interwoven Grail and Faith and Spear music letting down as if a curtain of silver and azure and gold, the poem closes.
Parsifal's denunciation of Kundry after she has kissed him has not a word of the old truthful Wagner in it: Wagner had written so magnificently about the ecstatic state of Palestrina and such of the other church composers as he knew, that he must, absolutely must, have realised that his Parsifal stuff was essentially untrue.
Meanwhile, as the shield-bearers are carrying Amfortas towards the lake, the savage, mysterious Kundry is seen flying over the fields. She overtakes Gurnemanz and gives him a balm, saying that if it will not help the King, nothing in Arabia can, and then, refusing to accept thanks or reveal her identity, sinks to the ground in weariness.
There is something of the same universal tenderness, the same religious linking together of all the world, in some vague enough, but very beautiful, Pantheism. I think it is beside the question to discuss how far Wagner's intentions were technically religious: how far Parsifal himself is either Christ or Buddha, and how far Kundry is a new Magdalen.
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