Klingsor: Erwachst du? Meinem Banne wieder verfiel'st du heut' zur rechten Zeit. Are you waking? You are in my power again today just at the right time. Klingsor: Sag', wo triebst du dich wieder umher? Als ihren Meister du mir gefangen - haha! Say, where have you been roaming now? There among the knights, whom you let treat you like a beast! Are you not better off with me? When you captured their master for me - haha - the pure guardian of the Grail - what drove you away again? Kundry: rauh und abgebrochen, wie im Versuche, wieder Sprache zu gewinnen.
Tiefe Nacht! Tiefer Schlaf! Darkest night! O rage! O misery! Deep sleep! Sie helfen dir nicht; feil sind sie Alle, biet' ich den rechten Preis. Yes, to make good the wrong that you maliciously had done them? They do not help you; they are all for sale, when I offer the right price. The steadiest will fall, when he sinks in your arms, then to be felled by the spear, which I myself seized from their master. Today we meet the most dangerous of them; he is protected by his foolishness. This is a cruel remark, assuming that Klingsor has castrated or emasculated himself and therefore has no further choice in the matter.
Despite Nietzsche's complaint that Wagner was preaching chastity, this is the only reference to it in the libretto. Chastity is required of a saint, whether Buddhist or Christian. Klingsor had aspired to but not achieved saintliness, according to Gurnemanz. Furchtbare Not! So lacht nun der Teufel mein', dass einst ich nach dem Heiligen rang? Gefiel er dir wohl, Amfortas, der Held, den ich zur Wonne dir gesellt? He sinks into gloomy brooding Terrible distress! So now the devil mocks me, that once I pursued holiness?
Terrible distress! The pain of untamed desire, terrible desire sent from Hell, which I stilled by force - does it mock and laugh at me now through you, the devil's whore? Guard yourself! One repents his contempt and scorn; the proud one, strong in holiness, who once drove me out. His dynasty ruined by my magic, the holy guardian will languish unredeemed; and soon - so I believe - shall I guard the Grail myself - Haha!
How did you like Amfortas, the hero, when I lured him with your beauty? Klingsor's magic has found her out; he knows the curse and the power through which she can be forced into his service Kundry: Oh! Schwach auch er! Meinem Fluche mit mir Alle verfallen!
O ewiger Schlaf, einziges Heil, wie, wie dich gewinnen? O anguish! He too was weak! Like me, all fall victim to my curse! O eternal sleep, my only salvation, how, how can I win you? In his Prose Draft Wagner wrote that Kundry is trapped in an unending cycle of existence. Periodically she falls into her "deathlike sleep" and her waking is a kind of rebirth.
She yearns for an "eternal sleep" from which she will not awake, in other words to die and not to be reborn. The noun Heil can convey a range of meanings from "well-being" to "salvation".
For Wagner it seems to have been associated additionally with "wholeness". Klingsor: Ha! The one who defies you will set you free; try with this boy who approaches! Klingsor: steigt hastig auf die Thurmmauer Jetzt schon erklimmt er die Burg. Klingsor: Ho! Feinde nah'! Dem schlug er den Arm, jenem den Schenkel! Kundry schreit auf und verschwindet. Sie weichen. Sie fliehen. The enemy approaches! How they rush to the ramparts, my deluded garrison, to protect their beautiful demons!
He is not afraid of you! He has disarmed the hero Ferris, and now wields his weapon against the crowd. Kundry breaks into wild hysterical laughter which turns into a convulsive wail. How ill-matched he is with those boobies! He struck one in the arm, another in the thigh! Kundry screams and vanishes. They yield.
They run. The guards are knights whom Klingsor has ensnared with the aid of his demons, the women of infernal beauty that Gurnemanz mentioned in the first act. They fight Parsifal as protectors of these magic women. In Wolfram's "Parzival", Ferris is the red knight whom the young Parzival kills for his weapons and armour; the incident has nothing to do with Clinschor, however. The bluish light is extinguished; leaving total darkness below, in contrast to the bright blue sky above the walls.
Wie stolz er nun steht auf der Zinne! Wie lachen ihm die Rosen der Wangen, da kindisch erstaunt in den einsamen Garten er blickt! Er wendet sich nach der Tiefe des Hintergrundes um. Schon am Werk? Den Zauber wusst' [kannt'] ich wohl, der immer dich wieder zum Dienst mir gesellt! Sich wieder nach aussen wendend Du da [dort], kindischer Spross, was auch Weissagung dich wies, zu jung und dumm fiel'st du in meine Gewalt; die Reinheit dir entrissen, bleib'st mir du zugewiesen! They retreat licking their wounds!
How little I grudge them! May the whole brood [race] of knights destroy each other like this! How proudly he stands on the rampart! How happily glow his rosy cheeks, as in childish amazement he looks down into the empty garden! He turns to the depths. About your business? That magic I know well, that binds you to serve me again!
Looking out again You there, childish offspring; whatever might be foretold about you, you are falling under my control, young and stupid as you are; once deprived of your purity, you will belong to me! He knows the prophecies about this wonder-child. He fears that he may have been summoned to deliver Anfortas and take his place with a power that cannot be overcome. He rapidly sinks from view with the entire tower; in its place appears the magic garden which fills the entire stage.
All maidens: Hier was das Tosen! Hier, hier! Wer ist der Frevler? Wo ist der Frevler? Auf zur Rache! Here was the uproar! Here, here! Angry cries!
Für euch, die ihr träumt (German Edition) - Kindle edition by Birgit Unterholzner. Download it once and read it on your Kindle device, PC, phones or tablets. Editorial Reviews. About the Author. Andreas Ehrholdt, geboren in der ehemaligen DDR, war als Transportarbeiter bei der Bahn sowie als Bürokaufmann.
Who is the offender? Where is the offender? Arise to vengeance! The magic maidens or "flower maidens" were inspired by a number of different sources. For the women who once were flowers, Wagner's inspiration seems to have been the medieval poem Roman d'Alexandre. It is also likely that he was thinking of a Christmas pantomime that he had seen at the Adelphi theatre in London, in which the chorus girls were dressed as flowers. Here the word Frevler which was applied to Parsifal already in act one is translated as "offender".
It can also mean "transgressor", "miscreant" or "blasphemer". Later in the scene, Parsifal will call Kundry Frevlerin. The ensemble of "flower maidens" consists of two groups each containing three solo singers and a double chorus of 1st, 2nd and 3rd soprano voices, which is again subdivided. All maidens: Wo sind uns're Liebsten?
Drinnen im Saale! Wo sind uns're Liebsten? Wir sah'n sie im Saale. Wir sah'n sie mit blutender Wunde. Auf, zur Hilfe! Wer ist unser Feind? Sie gewahren Parsifal und zeigen auf ihn. Da steht er! Dort - dort! Seht ihn dort, seht ihn dort! Ich sah's! Where are our lovers? Inside the castle! We saw them in the castle. We saw them with bleeding wounds. Arise, to help! Who is our foe? They see Parsifal and point to him. There he stands! There - there!
See him there, see him there! I see him! O Weh'! Weh' ihm, der sie uns schlug! O woe! Woe to him who struck them down! All maidens: Weh! Du dort! Oh weh'! Was schufst du solche Not? Parsifal springt tiefer in den Garten herab. You there! What is the cause of this distress? Cursed, cursed shall you be! Parsifal jumps down into the garden. Bold one! Zu euch, ihr Holden, ja wehrten sie mir den Weg. You lovely children, should I not have fought them?
They barred the way to you, pretty ones. Never before have I seen such a handsome race: if I call you fair, don't you think I am right? The maidens, whose astonishment has changed to gaiety, break into hearty laughter. As Parsifal gradually approaches nearer to the excited groups, maidens of the first group and of the first chorus slip away unnoticed into the foliage to complete their floral decorations.
The maidens of the first group and of the first chorus return, during the following, now covered in flowers, looking like flowers themselves, and at once rush upon Parsifal. While those returning crowd around Parsifal, the maidens of the second group and of the second chorus quickly leave the scene, also to adorn themselves. Die Falschen! During what follows, the maidens who remain on stage turn around Parsifal in what resembles a children's game and caress him gently.
Chorus I and group I: Komm', komm', holder Knabe! Komm', komm'! Come, come, pretty boy! Come, come! Let me be your flower! Pretty boy, my loving care is for your delight and bliss! The second group and second chorus return, similarly adorned, and join in the game. All flower maidens: Komm! Komm, holder Knabe! All our loving care is for your delight and bliss! Wie duftet ihr hold! Seid ihr denn Blumen? How lovely you smell! Are you flowers? First and second flowers groups I and II All flowers: Kannst du uns nicht lieben und minnen, wir welken und sterben dahinnen.
Ihr fangt mich nicht! You won't catch me! Parsifal is about to leave when, out of the flower garden, the voice of Kundry takes him by surprise. The maidens are struck with terror by Kundry's voice and draw back from Parsifal. Kundry: Hier weile! Geht heim, pfleget der Wunden, einsam erharrt euch mancher Held.
Wait here! Surpassing delight and salvation await you. You childish wantons, let him go: fresh but fading flowers, he is not meant for your play. Go home, tend the wounded, those lonely heros wait for you. See earlier note regarding Heil.
The maidens withdraw timidly and reluctantly from Parsifal and gradually proceed into the castle. Chorus I and II: Leb' wohl, leb' wohl! Leb' wohl, du Holder, du Stolzer, du - Tor! Farewell, farewell! Farewell, you handsome, you proud, you - fool! Seen in relation to Wagner's commitment to the philosophy of Schopenhauer, this line might be more significant than it first appears. His major work The World as Will and Representation considers the question of whether life is but a dream, from which we might awake.
He looks inquiringly in the direction from which came the voice. There appears a young woman of great beauty - Kundry, thoroughly transformed - in loose, exotic clothing in a kind of Moorish style, on a bed of flowers. Like Klingsor, Parsifal addresses her as the "nameless one". She knows his name but he does not yet know hers.
I called you, foolish pure one, "Fal parsi", you pure fool, "Parsifal". So you were called by your father Gamuret, when he fell in far arabian land, greeting you, still safe in your mother's womb, with this name as he lay dying. To bring you this news, have I waited here; what brought you here, if not desire for news?
In Persian, it was claimed, parsi meant "pure" and fal meant "mad" or "foolish". See Wagner's letter to Judith Gautier of 22 November Kundry alludes to Wagner's etymology of her own name: she is the bringer of news or information, Kunde. I never saw, nor dreamt of, what I see before me now, and which fills me with dread. Did you too grow on this bed of flowers? Fern, fern ist meine Heimat. Von weither kam ich, wo ich viel ersah. Nur Sorgen war sie, ach! Doch, ihr Wehe [Ihr Wehe doch] du nicht vernahm'st, nicht ihrer Schmerzen Toben, als endlich du nicht wieder kam'st und deine Spur verstoben!
No, Parsifal, you foolish pure one! Far, far away is my homeland. I waited here only for you to find. I have travelled far and seen many things. I saw the child at his mother's breast, his first cries still laugh in my ear; with her heart full of pain, how Herzeleide laughed then too, when in her grief she delighted to look on you! You rested on the gentle grass, as she caressed you into sleep, with anxious care your mother watched over your sleep, and her warm tears awoke you when morning came. She was filled with grief, child of sorrow, by your father's life and death.
From such distress she would preserve you, as her highest duty. Far from weapons, from fighting men and strife, would she shelter and guard you. She was all care and anxiety; lest you should acquire knowledge. Did you not hear her cries of woe, when you wandered late and far? How greatly she rejoiced and laughed, when she found her long-sought child; and when she took you in her arms, did you perhaps fear her kisses? But you did not consider her feelings, her desperate pain, when at last you wandered away never to return!
She waited night and day, till her lament grew faint, grief consumed her pain, and she found stillness in death; her sorrow broke her heart and - Herzeleide - died. The "homeland" of Wagner's Kundry is less well defined: she seems to have Arabian or Moorish roots, but she has lived many lives, one of them as a princess of Judea.
All attachments bring suffering, according to the teachings of Buddhism. Even a mother's love for her child is a cause of suffering.
In Wolfram's poem Parzival's mother was Herzeloyde. Wagner considered first calling her Schmerzeloyde but finally settled on Herzeleide, "Heart's Sorrow". Like Tristan and Siegfried, Parsifal is made to feel guilty about his mother's death. Was tat ich?
Wo war ich? Dein Sohn, dein Sohn musste dich morden! O Tor! Wo irrtest du hin, ihrer vergessend, deiner, deiner vergessend! Traute, teuerste Mutter! What have I done? Where was I? Sweet, dear mother! Your son, your son had to murder you! O fool! Stupid, blundering fool. Where did you stray, forgetting her, forgetting yourself too! Dearest, loving mother! In the first act Parsifal was accused of murder when he killed the swan.
Now he accuses himself of the murder of his mother.
If pain were still a stranger to you, the sweetness of consolation would never comfort your heart; the grief and remorse you feel, the distress too disappears in the consolation that love offers. Was alles vergass ich wohl noch? Wess' war ich je noch eingedenk? Nur dumpfe Torheit lebt in mir. What else have I forgotten? What have I managed to remember? I am nothing but dull stupidity. Kundry, still half sitting, half lying down, bends over Parsifal's head, gently touches his forehead and fondly puts her arm around his neck.
Confession will end guilt in remorse; understanding changes folly into sense. Learn to know the love that enfolded Gamuret, when Herzeleid's passion set him on fire.
She who gave you body and life, to subdue death and folly, she sends you today, as a mother's last greeting, love's first kiss! Kundry's reference to the fire of passion introduces the idea of burning. When she kisses Parsifal, he begins to burn not with the fire of passion, but with the fire of aversion. Wagner explained Kundry's kiss with a reference to the knowledge of good and evil. As promised by the serpent in the garden of Eden: Dixit autem serpens ad mulierem: "Nequaquam morte moriemini. Scit enim Deus, quod in quocumque die comederitis ex eo, aperientur oculi vestri et eritis sicut dii scientes bonum et malum".
Now her head is directly above his and she presses her lips to his mouth in a long kiss. Suddenly Parsifal breaks free with an expression of extreme terror; from his demeanour it seems that some terrible change has come over him; he presses his hands convulsively to his heart, as if to control an agonising pain. He produced a vast oeuvre during his short life, composing more the vocal works largely Lieder , and well as several symphonies, operas, and a large body of piano music.
He was uncommonly gifted from a young age, but appreciation of his music was limited during his lifetime. His work became more popular in the decades after his death, and was praised by 19th century composers, including Mendelssohn, Schumann, Brahms, and Liszt. Information from Wikipedia. Read more here. He was educated at the gymnasium of his native town and at the University of Berlin, where he devoted himself to philological and historical studies.
In he took part, as a volunteer in the Prussian army, in the national rising against Napoleon. In he returned to his studies at Berlin.