Chapter V: "parsifal."

Wagner's Last Drama.--Paradoxical in its Appeals to the
Spectator and Student.--A Religious Play.--Blending
of Buddhistic and Christian Plots.--Socialistic Philosophy
and Asceticism.--Identification of Parsifal and
Christ.--Monkish Relic Worship.--Ethical Idea of the
Drama.--The Apparatus, the Hero, the Trial.--Mission
of the Music.--It must Reconcile Modern Thought and
Feeling and Mediæval Religion.--Imagination and
Fancy.--Suffering and Aspiration.--Original Elements
of the Grail Story.--Parsifal an Aryan Hero.--His Name
as an Index of Moral Character.--"The Great Fool
Tales."--The Holy Grail not Originally a Christian
Symbol.--Percival and Peredur.--Parsifal in Wagner's
Drama.--His Musical Symbols.--Properties of the Talisman:
Physical, it Provides Sustenance; Spiritual, it
is a Touchstone and Oracle.--Its Prototypes in Many
Lands.--The Golden Cup of Jamshid and the Joseph
of Arimathea Legend.--The Grail and Coral.--Dr. Oppert's
Theory.--Blood the Essential Element.--The
Prelude.--Amfortas.--Question and Lance.--Herzeleide.--Musical
Symbols of Suffering and Aspiration.--Wagner's
Interpretation.--Tried by Temptation.--Klingsor.--Kundry.--The
Loathly Damsel and Herodias.--Wolfram's
Married Parzival Pages 162-198

THE WAGNERIAN DRAMA.