ct 1 - In the first act, in the "holy ground" outside the Grail castle, Parsifal feels an intimation of pity after killing the swan. (The scene with the
swan is peripheral to the outer action but crucial to the inner.)
n witnessing Amfortas' agony during the Grail ceremony in the castle, he feels a compulsive pain in his own heart, but he does not yet dare to ask the "redeeming question": his compassion is still dull and inarticulate. (The motivation seems to have become confused: would Amfortas be relieved of his agony if Parsifal asked the cause of it at this point? Or must he wait for the return of the spear which he lost to Klingsor when he succumbed to Kundry? Die Wunde schliesst der Speer nur, der sie
schlug
. (Only the spear that struck it heals the wound.) The answer lies in the interrelationship of pragmatic and symbolic elements, which is the principle underlying the
dramatic structure of Parsifal: the spear that heals the wound is to be interpreted as a symbol of compassion,
the reversal of will
as Schopenhauer understood it. This compassion is not a negative emotion but insight into
the suffering of the world, and the only consolation for it is recognition of the lack of any consolation, in other words, resignation.)
ct 2 - In the second act, Parsifal, the pure fool, is made
cosmically clear-sighted
by Kundry's kiss. He feels in himself the temptation, the longing and suffering of Amfortas, and perceives the world as the aggregation of common guilt and an unending circle of misery, which can be broken only by compassion and renunciation, by rejection of the will and its blind urging and compulsion.
ct 3 - The events of the third act, Kundry's baptism, Amfortas's healing and the redemption of the Grail from guilt-stained hands
- the hands of Amfortas as the representative of a world of entanglement and compromises - are nothing more than the fulfilment of what is already foreseeable at the end of the second, once
Parsifal has regained the spear. (Parsifal's wanderings in search of the Grail, which
are portrayed in the prelude to the third act, are a check on the progress of the action but do not affect the outcome.1)
ut although the last act is uneventful by the normal dramatic criteria it is not just a ritual, the mere
enactment and symbolic representation of a long foregone conclusion. It presents a third stage in the inner action: the compassion that is a dull
sensation in the first act, and widens into recognition, cosmic perception [Welthellsicht] in the second, is at last directed outwards in the third as a deed of redemption. Parsifal becomes the Grail King, not an anchorite, and does not turn his back on the world.
[From Richard Wagner's Music Dramas, Carl Dahlhaus.]
Postscript: Eternal Justice
ther commentators disagree to a lesser or greater extent with the views expressed above. Ulrike Kienzle, in a perceptive study of
Parsifal entitled Das Weltüberwindungswerk, takes another view of the symbolism of the spear. She notes that when the
spear is used as a weapon it only wounds the individual (first Amfortas and then Klingsor) who wields it, that
is, the aggressor. Therefore it is possible to see the spear as a metaphor for what Schopenhauer called eternal justice
2. This aspect of Schopenhauer's philosophy can be found presented in another of Wagner's dramas; it forms part of the Wahn
monologue
in Die Meistersinger:
Driven to flight he deludes himself that he is the hunter;
does not hear his own cry of pain;
when he digs into his own flesh
he is deluded that he gives himself pleasure!
ccording to Schopenhauer our individual existence is only apparent (in the world as
representation), not real; there is no separation of existence in the eternal world (as will). When we injure others, we only harm ourselves; when we bite into the flesh of another being, we
dig into our own flesh.
