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Updated: May 24, 2025
It might possibly be so for Parsifal. Of all operas since Parsifal that I have seen, the Ariane et Barbe Bleue of Dukas and Maeterlinck seems to me the most beautiful, the most exalted in conception, the most finely symbolic, and surely of all modern operas it is that in which the ideas and the words, the music, the stage pictures, are wrought with finest artistry into one harmonious whole.
Finally she packed the New Testament, "Parsifal" and the cookery book inside her swag. Later, opening all her books to write her name in them before leaving them on the shelf downstairs for the use of Mrs. King's "boys," she noticed the gipsy woman's prophecy in the title page of "Questing Cells" and took that along too.
"It's one of those Careless Wagons," I whispered to Peaches, and then we both looked at Parsifal to see if there was a mental struggle going on in his forehead, but he was rushing onward with his head down, watching his feet to make sure they didn't step on each other.
I have never seen anything like this before. I have never seen anything so great and fine and real as this devotion. FRIDAY. Yesterday's opera was "Parsifal" again. The others went and they show marked advance in appreciation; but I went hunting for relics and reminders of the Margravine Wilhelmina, she of the imperishable "Memoirs." I am her pilgrim; the rest of this multitude here are Wagner's.
Those who have not forgotten the story of her beginnings will remember that she was a thorough musician as well as a great singer, and was one of those very few primadonnas who are able to accompany themselves from memory without a false note through any great piece they know, from Lucia to Parsifal. She began with the waltz song in the first act of Romeo and Juliet.
Nietzsche at length realised that the friend of his fancy and the real Richard Wagner the composer of Parsifal were not one; the fact dawned upon him slowly; disappointment upon disappointment, revelation after revelation, ultimately brought it home to him, and though his best instincts were naturally opposed to it at first, the revulsion of feeling at last became too strong to be ignored, and Nietzsche was plunged into the blackest despair.
Many musicians, on the other hand, have felt Wagner's wilful avoidance of the possibilities of choral effect to detract seriously from the musical interest of the opera, and for that reason have found 'Tristan und Isolde' less satisfying as a work of art than 'Parsifal' or 'Die Meistersinger, in which the chorus takes its proper place.
I have found in a motet of Vittoria one of the motives of "Parsifal," almost note for note, and there is no doubt that Wagner owed much to Palestrina and his school. But even the sombre music of Vittoria does not plead and implore like Wagner's. The outcry comes and goes, not only with the suffering of Amfortas, the despair of Kundry. This abstract music has human blood in it.
It really was not their fault if they had not guessed it. Two days passed, on the first of which Parsifal was given, and on the second Meistersinger. On the third there was no performance, and the two young men had agreed to meet in the morning and drive out of the town to a neighbouring village among the hills, and spend the day there in the woods.
But this Spinozistic mood is not the natural climate of his soul. He is always ready to revert, always anxious to "drag Beatrice in." Wagner's "Parsifal" is perhaps the most flagrant example of this ambiguous association between religion and sex.
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