Wagner Parsifal Quotes

I can see Richard Wagner standing at the gates of heaven. "You have to let me in," he says. "I wrote Parsifal. It has to do with the Grail, Christ, suffering, pity and healing. Right?" And they answer, "Well, we read it and it makes no sense." SLAM.

Parsifal is on his way to the temple of the Grail Knights and says: “I hardly move, yet far I seem to have come”, and the all-knowing Gurnemanz replies: “You see, my son, time turns here into space

ΠΑΡΣΙΦΑΛ: «Μόλις και μετά βίας βαδίζω, κι όμως νιώθω πως ήδη έχω πάει πολύ μακριά!» ΓΚΟΥΡΝΕΜΑΝΤΣ: «Βλέπεις, γιε μου, σ’ αυτό εδώ το μέρος ο χρόνος γίνεται χώρος!» ("Zum Raum wird hier die Zeit")

Parsifal é um daqueles artefatos culturais tortuosos dos quais você tem a sensação subjetiva de que aprendeu alguma coisa, alguma coisa valiosa ou até mesmo que não tem preço; mas, ao fazer um exame mais atento, você subitamente começa a coçar a cabeça e dizer: "Espere um minuto.Isto aqui não faz sentido", Posso até ver Richard Wagner às portas do paraíso. "Vocês precisam me deixar entrar", diz ele. "Eu escrevi Parsifal. Tem a ver com o Graal, Cristo, sofrimento, piedade e cura. Certo?". E eles respondem: "Bom, nós lemos a obra e ela não faz sentido". SLAM! Wagner tem razão e eles também. É outra armadilha de dedos chinesa.

The ordinary reader today knows about the Grail thanks only to Richard Wagner's Parsifal, which, in its Romantic approach, really deforms and twists the whole myth. Equally misleading is the attempt to interpret the mystery of the Grail in Christian terms: for Christian elements only play an accessory, secondary and concealing role in the saga. In order to grasp the true significance of the myth, it is necessary instead to consider the more immediate points of reference represented by the themes and echoes pertaining to the cycle of King Arthur, which survives in the Celtic and Nordic traditions. The Grail essentially embodies the source of a transcendent and immortalizing power of primordial origin that has been preserved after the 'Fall', degeneration and decadence of humanity. Significantly, all sources agree that the guardians of the Grail are not priests, but are knights and warriors - besides, the very place where the Grail is kept is described not as a temple or church, but as a royal palace or castle. In the book, I argued that the Grail can be seen to possess an initiatory (rather than vaguely mystical) character: that it embodies the mystery of warrior initiation. Most commonly, the sagas emphasize one additional element: the duties deriving from such initiation. The predestined Knight - he who has received the calling and has enjoyed a vision of the Grail, or received its boons – or he who has 'fought his way' to the Grail (as described in certain texts) must accomplish his duty of restoring legitimate power, lest he forever be damned. The Knight must either allow a prostrate, deceased, wounded or only apparently living King to regain his strength, or personally assume the regal role, thus restoring a fallen kingdom. The sagas usually attribute this function to the power of the Grail. A significant means to assess the dignity or intentions of the Knight is to 'ask the question': the question concerning the purpose of the Grail. In many cases, the posing of this crucial question coincides with the miracle of awakening, of healing or of restoration.

In the words of the master: infinity but without melody. In the second place, with regard to the overthrowing,--this belongs at least in part, to physiology. Let us, in the first place, examine the instruments. A few of them would convince even our intestines (--they _throw open_ doors, as Handel would say), others becharm our very marrow. The _colour of the melody is_ all-important here, _the melody itself_ is of no importance. Let us be precise about _this_ point. To what other purpose should we spend our strength? Let us be characteristic in tone even to the point of foolishness! If by means of tones we allow plenty of scope for guessing, this will be put to the credit of our intellects. Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.{~HORIZONTAL ELLIPSIS~} But what overthrows best, is _passion_.--We must try and be clear concerning this question of passion. Nothing is cheaper than passion! All the virtues of counterpoint may be dispensed with, there is no need to have learnt anything,--but passion is always within our reach! Beauty is difficult: let us beware of beauty!{~HORIZONTAL ELLIPSIS~} And also of _melody!_ However much in earnest we may otherwise be about the ideal, let us slander, my friends, let us slander,--let us slander melody! Nothing is more dangerous than a beautiful melody! Nothing is more certain to ruin taste! My friends, if people again set about loving beautiful melodies, we are lost!{~HORIZONTAL ELLIPSIS~} _First principle_: melody is immoral. _Proof_: "Palestrina". _Application_: "Parsifal." The absence of melody is in itself sanctifying.{~HORIZONTAL ELLIPSIS~} And this is the definition of passion. Passion--or the acrobatic feats of ugliness on the tight-rope of enharmonic--My friends, let us dare to be ugly! Wagner dared it! Let us heave the mud of the most repulsive harmonies undauntedly before us. We must not even spare our hands! Only thus, shall we become _natural_.{~HORIZONTAL ELLIPSIS~}

I can see Richard Wagner standing at the gates of heaven. ‘You have to let me in,’ he says. ‘I wrote Parsifal. It has to do with the Grail, Christ, suffering, pity and healing. Right?

Magee’s explanation is Freudian. Tristan und Isolde presents the most overtly erotic music ever composed. Oedipal themes can be discerned in both Siegfried and Parsifal. Die Walküre has incest between brother and sister, Siegmund and Sieglinde, as one of its main themes. Siegfried’s beloved Brünnhilde was fathered by Wotan, his own grandfather, and is thus his aunt as well as his mistress. Magee suggests that some listeners dislike Wagner’s music because it arouses or puts them in touch with unconscious desires which they cannot accept and are compelled to repudiate.

The Thursday Circle covered a multitude of topics, including religion, ethics, politics, and culture. Part of the requirement for the group entailed attending cultural events. One week Bonhoeffer gave a talk on Wagner’s Parsifal and then took the group to see the opera itself. There were questions of Christian apologetics: “Did God create the world? . . . What is the purpose of prayer? . . . Who is Jesus Christ?” There were ethical questions: “Is there such a thing as a necessary lie?” They discussed the Christian perspective on Jews, on rich and poor, and on political parties. One week the topic was “the gods of the ancient Germans,” and another week it was “the gods of the Negro tribes.” One week the topic was “famous poets and their God (Goethe, Schiller),” and another it was “famous painters and their God (Grünewald, Dürer, Rembrandt).” They discussed mystery cults, the Muslim faith, music, Luther, and the Catholic church.*