From Siegfried to Tristan to Parsifal

 Last year I wrote a post called The Spiritual Failure of Tristan about the character in Wagner's famous opera. In it I maintained that Tristan represents the failure of a spiritual test though, if failure is too strong a word, one might also interpret the opera as showing how a soul can only learn and grow through experiencing the intensity of desire for perhaps in order really to know the fullness and depth of spiritual love you must experience earthly love in its highest form, just as only a strong self can reap the deeper benefits of transcending ego. To renounce fully you must know completely.

I had forgotten about this post but a couple of days ago someone added a comment disagreeing with my interpretation. I then disagreed with his disagreement, though I wasn't entirely sure on what basis he was disagreeing, but this made me reflect further and I recalled something I had once seen, and maybe even came from Wagner himself, about how Siegfried, Tristan and Parsifal can be seen as the same character at different stages of development. I would like to explore that idea a bit further here.

The premise is that these three characters depict successive stages in the same soul's spiritual evolution. It is already the soul of a hero so not an everyman but one who has been brought to the apex of worldly achievement and is now ready to move beyond that into spiritual consciousness.

Siegfried appears first as a child soul linked to the world of nature and the instincts. Born and raised in the forest, he has no contact with the world of men and lives in a state of pre-conscious innocence. He cannot, certainly does not, reflect because his ego is directed only outwards. He is free and fearless but also insensitive to others and totally ignorant. And yet he is a hero which means he has on some level reached a certain degree of achievement. Nevertheless, he is only awakened to himself by his mountaintop encounter with Brunnhilde, demonstrating how we can only know ourselves and become fully self-conscious through experiencing the other. That is one of the fundamental meanings of the division into two sexes. Siegfried, however, betrays his other half through his lack of self-awareness, and this same lack leads to his downfall and death. 

Tristan is Siegfried reborn. He too is a hero but a more self-aware one. He loves Isolde from the beginning but obeys custom and convention and the mores of society, things that would have meant nothing to the pre-adult Siegfried, until the magic potion breaks down his resistance. The potion, by the way, could just as well be water as it is not magic that makes it no longer possible for Tristan and Isolde to conceal the truth of their love but the belief they are about to die. 

Henceforth, Tristan is consumed by passion, first the passion of Eros and then the passion for Thanatos. This passion is so intense it reveals to him the nightmare of the separate self, isolated but desperate for completion in the other. His sense of the pain of duality means he can find no resolution except through annihilation in death and darkness. Tristan is the earthly self brought to the realisation that it must go beyond itself to escape pain and suffering, but he seeks this outwardly in another created being rather than on a spiritual level. He must go through the fire of having all his earthly attachments burnt out before he can progress.

And so we come to Parsifal. To begin with Parsifal is Siegfried reborn, perhaps showing that we must recapitulate past experiences before we can move on to a higher level. He is the pure fool and must go through many trials before he gains wisdom. Unlike Siegfried, who fails through lack of thought and self-awareness, or Tristan, who fails by surrendering his will to desire, Parsifal resists temptation when he refuses to succumb to Kundry in the pivotal Act 2. By transforming sensual passion into divine compassion, he overcomes the desire that brought down Tristan and moves out of the state of ego-driven will into that of the redeemed self who can now become a saviour for others. It is no coincidence that the spear which killed Siegfried now becomes the holy spear that heals the wounded Amfortas who also may well stand for Wotan whose original sin in seeking power rather than love led to the whole corrupt state of the world which can only be healed by compassion.

In the light of this, perhaps my anonymous commenter was right after all in that Tristan's failure was not so much a failure as an inevitable stage that all souls must go through on their journey from the Adamic innocence of Siegfried through Tristan's full human immersion in self-consciousness which he sought to escape in the wrong way, to the transcending of that in Parsifal's eventual union with God. 

I don't know how much Wagner was conscious of this and how much came from his profound artistic intuition, but I believe he was aware of the significance of his characters. I would still have a bone to pick with him in that, even in Parsifal, he downplays the importance of Christ and God who are both shadowy figures in the opera, almost peripheral to its development when they should be central. That is a weakness, but then Wagner was writing in the 19th century when the weight of official Christianity may have been artistically stifling. He sought to break free from the trappings of religion to find its essential source, and in these operas he depicted the progress of a soul with extraordinary beauty and insight.

I could stop here but before concluding it is worth looking at the three female protagonists because they are far from being mere passive foils for the male hero. They are actually crucial to the whole story, and they have their own progression too. 

Brunnhilde represents the descent of the soul to the human state. She loses her spiritual qualities and knowledge but gains the capacity to suffer which may not seem like a gain but is because it opens up the heart to love. She becomes vengeful and bitter when betrayed but in the end, purged by suffering, in the great immolation scene, a Viking sati, she transcends both her human condition and her earlier immature spirituality (immature because it knows nothing else) to reach a kind of omniscience based on universal compassion. To love all is to know all.

Isolde's evolution is similar to Tristan's in that she starts off trapped by duty, the marriage to King Mark, but she is also consumed by pride and anger until her ego is rent asunder by her love for Tristan after that love can no longer be denied. Her trajectory is different to his in that she does not seem so consumed by her passion but she too ends up by dissolving her individual identity into the universal sea which may be seem a spiritual transfiguration but is actually a return to the pre-creation state so spiritually regressive from the Christian point of view. It ends suffering but does not bring true divine union. It doesn't appear that Wagner thought of it like this but it may be that on some level he knew he could not leave his female archetype there and had to move on to Kundry.

Kundry is Wagner's most developed female character, the one he had been reaching towards in all his previous operas. She is the eternal feminine at its most powerful and its most destructive before being transfigured by submission to divine will. After laughing at Christ on the cross she is condemned to wander through the centuries, acting as a despised servant by day and a demonic temptress by night, the one in payment for her sin, the other as the direct expression of the psychic state behind it. This sin cannot be atoned for until she meets someone who can resist her. Only when Parsifal does resist her kiss, which he does out of compassion, that is important, is she freed from her curse which is basically the prison of her own ego. 

This is not the end, either for her or for Parsifal himself, because she must endure many more years of purifying servitude, and he must undergo many more trials during which he cannot use the holy spear as a weapon however much he is attacked. But it is the beginning of the end, and it is brought to its conclusion when Parsifal returns to Montsalvat (Valhalla again, but built this time to support spiritual renunciation rather than worldly power), and she bathes his feet, in return receiving baptism from him. Her spiritual journey is complete and, though this is not brought out in the opera, she can now serve in the lineage of the Virgin Mary who is the eternal feminine fully spiritualised.