The Rudolf Steiner Archive

There are some occult and spiritual-scientific truths I want to consider in connection with Richard Wagner's Parsifal.¹⁸⁵A strange, deep link exists between the phenomenon of the great artist Richard Wagner and the spiritual movement called Theosophy today. People are gradually beginning to realize that Richard Wagner and his works represent a great sum of occult power. But something else will also emerge in future, and that is that there is much more to the Richard Wagner phenomenon than he himself could possibly know. It is a mystery connected with many important figures, particularly artists, that a power lives in them of which they themselves have no knowledge.

If on the one hand we understand that there was much more to Richard Wagner than he himself was aware of, we must not forget, on the other hand, that he was not able to reach the ultimate level of wisdom, and that Richard Wagner's art therefore shows itself in quite a peculiar light to the occultist. When it comes to his works, one has to say to oneself that there is much more to them, something mysterious which lies behind it all.

It is indeed interesting to see the deeper currents in the background. Richard Strauss¹⁸⁶ said on one occasion that it was possible to see much more in Richard Wagner than people usually do. He put it more or less like this: ‘People who insist one should not look beyond Richard Wagner's work seem to me to be like people who also do not want to go beyond the flower they see. They will never know the secret of the flower. And is much the same with people who cannot think of anything further in the case of a great artist.’

Richard Wagner tackled subjects of tremendous significance. You keep finding names in his works that relate to very ancient sacred traditions. In Parsifal he achieved something that is closely bound up with the power that had such a strange influence in the last third of the 19th century.

To understand his figures and themes we must first cast an eye on profound secrets of human evolution, going back a few thousand years in history. All his life Richard Wagner made profound studies of human affairs and the secret of the human soul. In his youth he sought to explore the secret of reincarnation. The draft of a play he was working on in 1856 shows this. It was called The Victors.¹⁸⁷ Wagner stopped work on it later on, for he could not find a musical solution to the problem of the ‘victors’. A dramatic solution would have been perfectly possible. The story of the play was as follows. A young man in far distance India, Ananda by name, a Brahmin by caste, was loved by a girl called Prakriti who belonged to the lowest caste. Ananda became a pupil of the Buddha. He did not return Prakriti's love, which cast her into deep sorrow. Ananda withdrew from the world to dedicate himself to the religious life. A Brahman then told the girl why her fate was the way it was. In an earlier life she, a member of the Brahman caste, had rejected the love of this same young man, who was then of the lowest caste. Hearing this she, too, turned to the Buddha, and both of them were then pupils of the same teacher.

Wagner had intended to work on this theme in 1856. A year later the subject he had failed to deal with came to him in another way. He conceived the great idea of his Parsifal in 1857. It is a strange story of how the whole mystery of Parsifal came to Richard Wagner at one particular moment.¹⁸⁸ It was on Good Friday 1857 in the Wesendonk Villa on the Lake of Zurich. He saw nature outside growing, shooting and sprouting. And at that moment he understood the connection between nature coming to new life and Christ's death on the cross. That is the secret of the holy grail. From that moment, Richard Wagner lived with the idea of presenting the secret of the holy grail to the world in music.

To understand this unusual experience we must go back a few thousand years in history. Richard Wagner put down his beautiful thoughts on human evolution in writing under the title ‘Heroism and Christianity’.¹⁸⁹ Let us first of all consider the kind of teaching given in occult societies in the 16th or 17th century. There have been mystery centres at all times. The knowledge taught there was at the same time religion, a religion that was also wisdom. It is not possible to really understand the mysteries unless one understands that there is a world of the spirit.

The different realms of nature lie spread out around us—minerals, plants, animals and human beings. We consider the human realm to be the highest of the four. Just as there are realms around man that are lower than he is, so there are higher spirits above him, at many levels. The different levels of spirits that are above man have always been called ‘gods’. Wisdom was taught in the mystery centres in a way that made human beings able to commune with the gods at a conscious level. Such people would always and wherever mystery centres existed be called ‘initiates’. They were not merely given words of wisdom but experienced realities within those mysteries. Today's mystery centres are of a different kind than those of antiquity and medieval times.

An important mystery centre existed in a region of northern Spain at the time when the crusades began and a little before that. The mysteries of those times were called ‘late Gothic mysteries’. Their initiates were called Tempelisen or Tempeleisen or Knights of the Holy Grail. Lohengrin was one of them. The community of these Knights of the Grail was rather different from another knightly community. This had its seat in Britain, in Wales. All the stories of King Arthur and his Round Table have to do with this other initiate community.

In very early times, long before Christianity, a large population moved from west to east on this earth. This was a very long time ago. There was a time when Atlantis existed in a region that is now part of the Atlantic Ocean. Our far distant ancestors, the Atlanteans, lived there. The whole population of Europe and Asia, all the way to India, were descendants of the Atlanteans. Conditions of life on Atlantis were very different from those in which people lived later on. Atlanteans lived in a completely hierarchic system guided by such initiates. All government and rule came from the initiates in those times. One famous initiate school was in the north of present-day Russia. Its initiates were called trotts. Other schools were in western Europe, their initiates known as druids. All social institutions to control the masses of humanity came from these initiates.

Let us take a look at those very early schools. What kind of secret was taught in them? It is only the form of the teaching that changes with time. It is truly remarkable that the mystery which Richard Wagner experienced inwardly was taken to its highest development in those schools. It is the connection between nature coming alive in spring and the mystery of the cross.

The first thing pupils had to understand was that all power of bringing forth that lies outside the animal and human realms may also be seen in the plant world. In spring, the divine power of creation sprouts forth from Mother Earth. It had to be understood that there is a connection between the power that comes forth when the earth covers itself with a green carpet and the power of divine creation. The pupils would be told: ‘Out there you see a power in the flowers as they open that condenses in the seed. Countless seeds will come from the chalice of the flower, and put in the soil they will bring forth something new. One can now feel with the whole of one's being that the events that happen out there in nature are nothing else but the processes that also happen in the human and animal worlds, but in the plant this happens without desire and is wholly chaste.’

The infinite innocence and chastity slumbering in the flower chalices of plants had to live in the hearts of the pupils. They were then told: ‘The sunbeam opens the flowers. It brings forth the power from those flowers. Two things come together—the opening flower and the sunbeam. Other realms—the animal and human worlds—are between the plant world and the divine realm. All these realms are only the transition from the plant world to the divine realm. In the divine realm we see once again a realm of innocence and chastity, as in the plant world. In the animal and human worlds we see a realm of desire.’

And then the teachers would speak of the future: ‘The time will come when all lusts and desires shall vanish. Then the chalice will open from up above, just as the chalice of a flower opens, and it will look down on the human being. Just as the sunbeam enters into the plant, so will man's own purified power unite with this divine chalice.’

We can invert the flower chalice in our minds, letting it bend down from above, from heaven, and we can invert the sunbeam, so that it rises from the human being to the heavens. This inverted flower chalice was shown to be a reality in the mysteries and called the holy grail. The real chalice of a plant is the inverted holy grail. Everyone who gains occult knowledge comes to know that the sunbeam represents something known as the ‘magic wand’. The magic wand is a superstitious version of a symbol that represents a spiritual reality. In the mysteries this magic wand was known as the bloodstained lance. We are shown the origin of the grail on the one hand and of the blood-stained lance on the other, the original magic wand known to true occultists.

I am just touching on things of great profundity, significant truths that took place in that belt in northern and western Europe. Richard Wagner sensed a great deal of all this, as did his friend the Comte de Gobineau,¹⁹⁰ a deep thinker.

To say what lies at the base of the mysteries of which I have been speaking, it was knowledge of the fluid that streams in animal and human veins. Quite rightly, Goethe wrote ‘Blood is a sap of very special kind’ in his Faust.¹⁹¹ Many things are connected with the blood. We shall understand what blood signifies if we grasp and understand the tremendous revolution that has occurred in the mysteries. In earlier times, it was known among the European people that important things depend on the way people are related by blood. Because of this, progress and development was never left to chance in those times. All these things were arranged out of occult wisdom. It was known that if the development of small tribal communities was limited to that community, with no one coming in from outside, individuals born within that community would have special powers. The consequences of letting different kinds of blood come together were known in the mysteries. They also knew exactly which tribe was right for a particular area. They knew that common blood was the source of specific human powers.

When the ancient bonds of blood relationship were broken, something also happened in the mysteries. Purposes which before had been achieved by means of blood relationship were now replaced with two specific spiritual preparations in the great mysteries. The lesser mysteries had the outward symbols of these—bread and wine. The two preparations were substances which had an effect in the spirit that was similar to the physical effect of the blood in our veins. When the ancient clairvoyance had gone, these two preparations took its place. Having learned all of theosophical wisdom, initiates would then be given these symbols from the chalice of Ceridwen.¹⁹² The purified blood could then be given to human beings from the chalice opening up from above. This is the true mystery, which at the time remained with a very small body of people.

In other parts of Europe the mysteries fell into decline and were then made profane in a disgusting, repulsive manner. Their symbol of the offering was a dish in which a bleeding head was placed. It was thought that something might be aroused in a human being on seeing this head. It was black magic that was being performed, the opposite of the mystery of the holy grail.

It was known at that time that the element which streams upwards in the chalice of the flower also lived in the human blood. It had to become pure and chaste again, like the sap of a flower. In the degenerate mysteries this was given a crude, materialistic form. In the north, people needed the sublimated blood as a symbol, and in the Eleusinian Mysteries the wine of Dionysus and the bread of Demeter. The cup of the grail made into something abhorrent, with the bleeding head, may be found again in the story of Herodias and the head of John. She was laughing at the mystery made profane.

The true secret of the great mysteries went to the Tempeleisen in northern Spain, guardians of the Grail. King Arthur's knights were more concerned with worldly affairs, but it was possible to prepare the Tempeleisen to receive an even more sublime secret, the great secret of Golgotha, the mystery of world history.

Christianity had its origin in the most mixed of nations, the Galileans, who were wholly alien to and outside all blood community. The redeemer founded his kingdom entirely outside the old blood community, beyond all blood bonds. The sublimated blood, purified blood, sprouts from the sacrificial death, the purification process. The blood that gives rise to wishes and desires must flow, it has to be sacrificed, it must run.

The sacred vessel with the purified blood was taken to Spain, to the Tempeleisen on Montsalvatch. Titurel, the ancestor, received the grail; before, it had been longed for. Now the overcoming of the blood had happened. The purely physical nature of the blood had been overcome by the spirit.

You can only understand what happened on Golgotha if, unlike a materialist, you know blood to be composed not only of material elements. It is indeed highly remarkable that Richard Wagner was only able to find the sacred mood for his Parsifal because he knew that it was not only a matter of the Redeemer's death but of the blood which had been purified and was a little bit different from ordinary blood. He himself spoke of the connection between the Redeemer's blood and the whole of humanity: ‘Having seen that the blood of what is known as the “white race” had a special capacity for conscious suffering and pain, we must now recognize the saviour's blood as the essence of suffering consciously willed, divine compassion that flows for the whole human race as its source and origin.’¹⁹³

Richard Wagner also wrote: ‘The blood in the redeemer's veins must thus have flowed forth as the result of the utmost endeavour of the will, a divine sublimate of the human race itself to save that race which in its noblest parts was falling into decline.’

It was because the redeemer had come from the greatest mix of nations that his blood was the sublimate of all human blood, human blood in its purified form.

Richard Wagner approached the great original mystery in a way hardly anyone else had dared to do. It is the very vigour he brought to this that made him a great artist. He should not be taken for an ordinary musician but someone with profound insight who sought to recreate the deep secrets of the holy grail for modern humanity. Before Richard Wagner wrote his Parsifal, people in Germany knew little about the mysteries and the figures which Richard Wagner then presented.

The initiation into the mysteries was in three stages, through which the individual had to go. The first stage was known as ‘dumbness’, the second ‘doubt’, the third ‘godliness’. In the first stage the human being would be taken away from all prejudice in the world, and told of the power in his own soul, his own power of love, so that he might see the inner light shine out. The second stage was that of doubt. This state of doubting everything came at the second stage of initiation. At a higher level it was then elevated to become inner godliness. In this third stage the initiand was guided to be consciously with the gods.

Perceval—pass through the vale—that was the name given to such initiands in medieval times.¹⁹⁴ Parsifal had to learn all this from experience. Richard Wagner's strange genius made him feel this on that Good Friday in 1857, feel the thread that had to run through the whole of Parsifal's development.

The Tempeleisen represented the inner, the true Christianity as against the Christianity of the Churches. It is evident everywhere in Wolfram von Eschenbach's Parzifal that he wanted to show the spirit of that inner Christianity side by side with the Christianity of the Churches.

Remnants of the old profaned mysteries still existed in the Middle Ages. Everything that comes under this heading was epitomized in the name Klingsor. He was the black magician, in opposition to the white magic of the holy grail. Richard Wagner also showed him in opposition to the Tempeleisen.

Kundry is Herodias brought back to life. She symbolizes the power that brings forth nature, a power that can be both chaste and unchaste, but without direction. Chastity and lack of chastity have the same root, and it is a matter of ‘as the question, so the answer’. The productive power that shows itself in the flower chalice of the plant, going up through the other realms, is the same as in the Holy Grail. It merely has to go through purification in the purest, noblest form of Christianity, as we see it in Parsifal.

Kundry had to remain a black magician until Parsifal redeemed her. The whole confrontation between Parsifal and Kundry has the odour of the most profound wisdom. More than anyone else, Richard Wagner made it possible for people to take this in without knowing it. Richard Wagner was a missionary whose mission it was to give something full of significance to the world, without humanity being aware of this truth.

Wolfram von Eschenbach wrote his Parzifal as a plain and simple epic. That was sufficient in his day. People who had some degree of clairvoyance at that time understood Wolfram von Eschenbach. In the 19th century it was not possible to show the profound significance of the process in dramatic form. But there is a way of helping people's understanding without words, without concepts or ideas. This is through music. Wagner's music holds all the truths contained in Parsifal. The strange music written by Wagner would create quite specific vibrations in the ether bodies of those who listened to it. The ether body is connected with all the profound motions of the blood. Richard Wagner understood the secret of the purified blood. His melodies hold the vibrations that have to be in the human ether body when it becomes purified in the way that is necessary so that the secret of the grail may be received.

The strange way in which Richard Wagner was writing his books can only be understood if one goes into the realities that were behind Wagner. He knew very well that the human will receives a very special illumination from the spirit. He wrote that initially the will was a crude, instinctive element, but it gradually came to be refined. The intellect casts its light on the will and the human being becomes aware of pain and suffering, and this leads to purification. Referring to the ideas of his friend the Comte de Gobineau he wrote: "One cannot fail but realize the unity of the human race when reviewing its parts, and we are justified in saying that at its noblest it is the capacity of bearing pain and suffering in full awareness. In the light of this we ask where the outstanding nature of the white race lies, since we certainly must put it high above the others. With beautiful certainty, Gobineau perceives it to lie not in any exceptional development of its moral quality as such, but in a greater store of the fundamental characteristics from which those qualities arise. It would have to be sought in the fiercer yet also more delicate sensitivity of the will which reveals itself in a rich organization, in conjunction with the more astute intellect this requires; it will then be a matter of whether the intellect, under the impulses of a will that has great need, advances to clairvoyance, casting its own light back on to the will, and in this case subjugate it to become moral drive?

Richard Wagner was here speaking of the actual process in which the intellect casts its reflection on the will, and the human being become clairvoyant in the process.

Richard Wagner's work was to give religious depth to art and ultimately profound understanding of Christianity. He knew that Christianity was best presented through music. By rising to the inmost secrets of the world order we will on the one hand gain knowledge, but on the other also true godliness. There is a way of human development that teaches us the significance of this fact relating to Christianity.

• 185. See Rudolf Steiner's lectures given in Berlin on Richard Wagner and mysticism (in German, in GA 55) and on 22 and 19 March 1906 (in German, in GA 54).
• 186. Strauss, Richard (1864–1949). See Thomas, W. Richard Strauss und seine Zeitgenossen S. 46, 72, 75; München 1964.
• 187. Die Sieger. Entwurf, Zurich, Mai 1956, in Richard Wagner, Sämtliche Schriften und Dichtungen Band 11, Leipzig 1911. Wagner wrote to Mathilde Wesendonk from Paris in early August 1960: 'Only deep-thinking assumption of the transmigration of souls showed me the comforting point where everything finally comes together at one level of redemption, when the different lives lived, running separately but side by side in time have touched one another in understanding. According to the beautiful Buddhist belief the simple explanation of the absolute purity of Lohengrin is that he is a continuation of Parsifal who fought to gain his purity. In the same way Elsa would be at Lohengrin's level when reborn. The scheme for my Sieger has just presented itself to my mind as the final conclusion of Lohengrin. Here Savitri (Elsa) is wholly at Ananda's level. All the terrible tragedy of life would thus lie merely in the separateness of time and space. These, however, live only in our minds and have no reality beyond them. Someone with perfect clairvoyance would thus be able to explain even the greatest most tragic pain as mere error on the part of the individual. I believe this to be so. And in all truth it is wholly a matter of the pure and noble, which in itself is painless? Richard Wagner an Mathilde Wesendonk. Tagebuchblätter und Briefe 1853–1871. 36. Auflage S. 242. Berlin 1909.
• 188. ‘Lovely spring weather came; on Good Friday I woke up for the first time in this house to full sunshine. The small garden had grown green, the birds were singing, and I was finally able to sit on the parapet of the little house and enjoy the much longed-for quiet that held such promise. With my heart full of this, I suddenly said to myself that it was Good Friday and recalled the significance this reminder had held for me once before, in Wolfram's Parsifal. I had never taken the poem up again since that time in Marienbad when I developed the ideas for Meistersinger and Lohengrin. Now its ideal content came to me overwhelmingly, and with the Good Friday idea in mind I rapidly produced the outline for a whole dramatic piece, in three acts, and immediately made a few quick notes of it.' Wagner R. Mein Leben III. Band S. 133f Miünchen 1915.
• 189. Wagner R. Gesammelte Schriften und Dichtungen in 10 Banden, hersg. W. Golther. 10. Bd S. 275ff: ‘Ausfiihrungen zu Religion und Kunsf, 2. 'Heldentum und Christentum’. Leipzig o. J.
• 190. Gobineau, Joseph Arthur, Comte de (1816–82), considered the 'intellectual father, of Nietzsche and the actual inventor of ‘super-man’ and ‘supermorality’. His Essai sur l'inégalité des races humaines, 4 vols, was published in 1853–55; translated in 1915 and published in English as The Inequality of Human Races.
• 191. Faust 1, verse 1740.
• 192. Ch. W. Heckethom wrote in Geheime Gesellschqften, Geheimbilnde und Geheimlehren S. 60 (Leipzig 1900): Druid culture encompassed all religious and philosophical study known in those lands at the time. The principal deities may be said to have been male and female, the great father and the great mother Hu and Ceridwen, in every respect the same as Osiris and Isis or Bacchus and Ceres, etc. See Rudolf Steiner's public lecture given in Berlin on 6 May 1909, ‘The European mysteries and their initiates’ (GA 57) (Anthroposophical Quarterly 1964: 9:1).
• 193. See ref. 189, 10. Bd S. 282.
• 194. Wolfram von Eschenbach (c. 1170–1220) interpreted the name he gave to the hero of his epic poem V. 140.16 f. in this way.

Also known as: The Secret of the Grail in the Works of Richard Wagner, Parsifal, Arthur Lecture 27 of 37 from the lecture series: Christian Mystery.

I want to speak to you today about the truths of occultism and of theosophy, relating what I have to say with Richard Wagner's Parsifal. For there is a deep connection between the artistic work of Wagner and the spiritual movement of the present day that is known as Theosophy. That there is in Wagner and in his works a very large measure of occult power, is something that mankind is gradually learning to realize. And in the future something further will also become clear to us; namely, that there lived in Wagner a great deal more than he himself could have knowledge of. This is, in truth, the secret of many a work of art, that a force and a power live in it of which its creator knows nothing.

When this has come home to us; namely, that more—much more—was living in Wagner than he himself was conscious of, we must at the same time not forget that Wagner was never able to reach the last stages of wisdom. On this account the art of Richard Wagner has for the occultist quite a unique character; for while he knows that something more, something of deep mystery, is hidden behind it, he knows on the other hand that one can be in danger of looking in Wagner for something that is not there. The fact that a great deal more is to be found in Wagner than is generally perceived was well expressed by Richard Strauss, who said somewhat as follows:

When I hear people perpetually declaring that we ought not to add anything from our own thought to what Wagner has created, it seems to me we might just as well say we should refrain from adding anything from our own thought when we contemplate a flower! We would certainly never discover the secret of the flower that way; and it will surely be the same with those who are unwilling to allow themselves to add anything from their own thought to the works of a great artist.”

Richard Wagner concerned himself with themes of sublime significance. Always in his works you will find names that are connected with ancient, holy traditions. What he achieved in “Parsifal” is intimately connected with the spiritual power that has been active in such a striking manner in and since the last third of the Nineteenth Century.

In order to understand the figures and motifs that we meet with in Wagner, we need to probe into deep mysteries of the evolution of mankind. Wagner made an intensive study of man and his place in the great world, and of the mystery of the human soul. As a young man he tried research into the mysteries of reincarnation. We have evidence of this in his draft for a drama called “Die Sieger” (“The Victorious,” or, “The Conquerors.”) He abandoned the attempt, because the music for the drama proved to be an insoluble problem. As drama alone he could have succeeded with it. The story is as follows. A youth in the Far East, in India, Ananda by name, belonging to the Brahman caste, is beloved by a Chandala maiden of the very lowest caste, who is called Prakriti. Ananda is a pupil of Buddha. He does not respond to Prakriti's love. She is accordingly thrown into the utmost distress and sorrow. Ananda withdraws from the world and devotes himself to the religious life. An explanation of her destiny is then given to the Chandala maiden by another Brahman. She had, he told her, in an earlier life been a Brahman and had rejected the love of this very youth who was at that time in the Chandala caste. Deeply impressed with the teaching conveyed in this explanation, the girl then attaches herself also to the Buddha, and the two become followers together of the same teacher.

This theme was sketched out by Wagner in 1855, with the intention of elaborating it. He did not succeed, but a year later the same impulse presented itself to him in a new way. In 1857 the great ideal contained in Parsifal suddenly entered into Wagner's soul. It happened on Good Friday, 1857, in Villa Wesendonk on the shores of the Lake of Zurich. Wagner was gazing out upon the world of nature, with all its fresh young life in the full beauty of springtime. And in that moment he saw with perfect clarity the connection between the upspringing of all the budding new life of nature and the death of Christ on the Cross. This connection is the secret of the Holy Grail. And from that moment onward Richard Wagner knew in his soul that he must send forth into the world this secret of the Holy Grail, he must send it out into the world of music.

If we would really understand this remarkable and unique experience that Richard Wagner underwent, we shall have to go back a few thousand years in the evolution of Europe. (His own noble and exalted thoughts on the evolution of man Wagner has put forward in his work entitled Heathendom and Christianity). What was the nature of the teaching that was given long ago in the so-called Mystery Fellowships or Mystery Brotherhoods? Let us consider for a little this teaching as it was to be met with in Europe right up to the Sixteenth or Seventeenth Centuries; let us see what form it took in these times.

Mysteries have existed in all ages. In the mysteries, man received a knowledge that was at the same time religion, and he received a religion that was at the same time wisdom.

It is impossible to have a correct conception of a mystery if one has no conception of a spiritual world. We are surrounded here by the various kingdoms of nature; minerals, plants, animals and human beings. We regard the human kingdom as the highest of the four. But now just as man has thus around him kingdoms that are lower than himself, so has he above him higher beings in many stages. The beings that stand at different stages higher than man have from time immemorial been designated as “Gods.” The kind of wisdom imparted to man in the mysteries enabled him to hold conscious intercourse with the Gods. He was then called an initiate. Such an initiate possessed no mere wisdom of words; he had, in the mysteries, experienced facts. Even still today there are mysteries, although they are of another kind than those of olden or medieval times.

At the time when the Crusades were beginning, and even a little before, we find in a district in the North of Spain an important mystery. The mysteries that were still extant in that time have generally been known as the later Gothic Mysteries. Those who were initiated were called the Templars, or the Knights of the Holy Grail. Lohengrin was one of these. The Order of the Knights of the Grail had a different significance from another order or brotherhood which had its location in England and Wales; all the stories that are told of King Arthur and his Round Table relate to this other order of initiation.

In ages long ago, long before Christianity, a migration took place from West to East. Very long ago, there was land in the region of the Atlantic Ocean—the so-called land of Atlantis, where dwelt the Atlanteans, our ancient ancestors. All the people who lived later on in Europe and also in Asia as far East as India, were descendants of the Atlanteans. The Atlanteans lived under entirely different conditions from those that prevailed in later times. Life was hierarchically ordered. All control and rule was in the hands of the initiates.

In the North of what is today Russia a famous school of initiation existed in earlier times. The initiates of this school were known as “Trotten.” In the West of Europe were other initiation schools, and in them the Druids were the initiates. The whole social life of the people was still even then ordered and regulated by these initiates.

When we look back to these ancient schools of initiation, what sort of a teaching do we find there? What was the Mystery that was taught in them? It is after all only the forms of the teaching that change with the passage of time. Astonishing as it may seem, we actually find that in these very ancient schools of initiation the secret, the mystery that Parsifal discovered, is brought to its highest development—the secret; namely, of how the new budding life of nature in Springtime is connected with the Mystery of the Cross. We have to understand it in the following way.

The power of reproduction which we recognize in the animal and human kingdoms is also to be seen in the plant kingdom. In the springtime of the year the divine active power of creation shoots up out of Mother Earth. For we have to recognize that a deep connection exists between the power that manifests when the Earth clothes herself with her robe of green, and the divine creative power. The pupils in the initiation school were taught as follows: “All around you in nature you see the opening flower buds, and within them a power at work which is then later concentrated in the small grains of seed. Countless seeds will come forth from the flowers—seeds which, if laid into the earth, will be capable of bringing forth new plants. And now receive what I am about to say into your heart; take it deeply into your soul. The process that is taking place out there in nature is the very same as takes place in human beings and in the animal kingdom, only in nature it takes place without desire or passion. It goes forward in perfect purity and chastity. The boundless and chaste innocence that sleeps in the flower buds of the plants—this, it was felt, must enter right into the soul of the pupils.

And then they were told further: “It is the sun that opens the blossoms. The ray of the sun calls forth the power that rests in them. Two things meet—the opening flower and the ray from the sun. Between the plant kingdom and the divine kingdom stand the two other kingdoms—the animal kingdom and the human. These latter are really no more than a kind of pathway leading from the plant kingdom to the divine kingdom. In the divine kingdom we have again a kingdom of innocence and chastity, as in the plant kingdom. In the animal and human kingdom we have kingdoms of desire and passion.” But then it was told to the pupils that in the future “all passion and desire will at length disappear. The chalice will then open (even as the chalice of the flower opens)—will open from above downwards and look down to man. And as the ray from the sun goes right down into the plant, so will man's now purified power unite itself with this divine chalice. It can actually come about that the chalice of the blossom is spiritually reversed so that it inclines downwards from heaven, and the sun's ray, too, is reversed so that it lifts itself up from man to heaven.” And this reversed flower chalice which was told of in the mysteries as an actual fact was called the Holy Grail. The flower chalice of the plant that we have before us in material reality is the reversed Holy Grail. And the ray from the sun—all who have true occult knowledge learn to recognize it in the “magic wand.” For the magic wand is a symbol, in the language of superstition, for a spiritual reality. In the mysteries it was called the “bloody lance.” So here we have before us, on the one hand, the origin of the Grail and on the other hand the original “magic wand” of the genuine occultist.

I have given you here slight indications of profound truths, deeply significant truths that played a part in men's lives in the North and West of Europe.

Richard Wagner had a deep intuitive feeling for these truths, and so had his friend Graf Gobineau.

If one wanted to express what was behind the mysteries of which we have been speaking, one could say it was the knowledge of what flows in the veins of animal and man. True indeed are the words that are so often quoted from Goethe's “Faust”: “Blood is a very special fluid.” We shall come to perceive what blood really signifies when we learn to understand a great revolutionary change that took place once in the mysteries.

In the olden times of the European peoples it was known how much depends in human life on blood relationships. On this account the continuance of humanity was never left to chance. All such matters were in those times regulated out of an occult wisdom. It was known that when further evolution was restricted within small racial communities and no other blood was allowed to come in from outside these communities, then the human beings who were born within them would possess certain higher powers. In the mysteries it was understood what effect the mingling of different kinds of blood would have. The initiates had quite exact knowledge, also, of which family or clan would be rightly suited for a certain region of the earth. And they knew that where a union of common blood takes place, there certain powers are bestowed on the human being that is born.

When the ancient blood relationships began to be broken, a significant event took place in the mysteries. Something else was substituted in place of the parents having common blood in their veins.

In the high mysteries, blood relationship was replaced by the partaking of two spiritual “preparations.” In the lower mysteries outward symbols were used instead of these; and the outward symbols were Bread and Wine. In the two spiritual preparations was a substance that was like blood. They were substances that worked spiritually in a somewhat similar way to the way blood works physically in the veins. As the old clairvoyance gradually disappeared, men began instead to partake of these spiritual preparations. When they had learned all that is contained in the whole wisdom of theosophy, they received these symbols out of Ceridwen's Cup. That was the purified blood that could be given to man from the chalice that opened down to him from above. This Mystery in this true essence passed into the care of a very small community. In other parts of Europe the mysteries became decadent and were horribly profaned. For we find on every hand as the symbol of sacrifice a dish on which a bleeding head has to be laid. It was thought that something can be awakened in man by the spectacle of this bleeding head. What was at work there was nothing but black magic. It was the downright opposite of the Mysteries of the Holy Grail.

It was known in the Mysteries that what streams upwards in the Chalice of the Flower lives also in the blood of man. The blood needs, however, to be made clean and pure again, it must be as chaste as the sap that flows in the blossom. And in these Mysteries that had become depraved, this was brought to expression in a gross and materialistic manner. (In Northern Europe sublimated blood was used as a symbol, and in the Eleusinian mysteries were the wine of Dionysus and the blood of Demeter.) The Vessel of the Grail turned into an abomination by being made to hold within it the bleeding head—this we find again in the story of Herodias who uses for the head of John the Baptist, making mock in this way of the Mysteries. The essential secret of the high mysteries passed into the hands of Templars in Northern Spain, the Guardians of the Grail.

While the Knights of King Arthur concerned themselves rather with the events and affairs of this world, The Templars were able to be prepared to receive a still more sublime Mystery—even to understand the Great Mystery of Golgotha, which is the secret of the history of the world.

Christianity had its beginning among the people of Galilee—a mixture of strikingly different races, thus a people who stand entirely outside all blood relationship. The Saviour is One who does not base His kingdom in the very least on blood relationships; He founds a kingdom that is quite remote from any such bond. The blood that has been sublimated, the blood that has been purified, gushes forth from the sacrificial death—for that is the cleansing process. The blood that gives rise to sensual desires has to be shed, has to be sacrificed, has to flow right away.

The Holy Vessel with the purified blood was brought to Europe to the Templars on Monsalvatsch. The venerable patriarch Titurel received the Grail; he had been chosen for this beforehand. The victory had now been won. The spiritual in the blood had overcome that which was merely physical.

As long as we regard blood merely as a substance that is built up of various chemical component parts, we cannot understand what took place on Golgotha. How was it that Wagner was able to find the right mood for his Parsifal? It is most important for us to recognize that Wagner was able to do this because he knew that what happened on Golgotha had especially to do with the blood, he knew that we had to see there not only the death of the Saviour but we had to see what took place there with the blood, how the blood was purified on Golgotha and became something quite different from ordinary blood. Wagner has spoken of the connection of the Saviour's blood with the whole of mankind. In his book “Paganism and Christianity” we read these words: “Having found that the capacity for conscious suffering is a capacity peculiar to the blood of the so-called white race, we must now go on to recognize in the blood of the Saviour the very epitome, as it were, of voluntary conscious suffering that pours itself out as divine compassion for the whole human race.”

And in another place Wagner says: “Because His will to save was so tremendously strong, the blood in the wine of the Saviour was able to be poured out for the redemption of all mankind when even the noblest races among men were falling into decay—poured out for their salvation, as divine sublimation, the blood that is associated with family or species.” The Saviour having come from a mingling of many different peoples, His blood was the symbol of compassion and blood in purified form.

Hardly has anyone even come so near to this mystery as Wagner did. It is indeed the power with which he approaches this mystery that constitutes his greatness as an artist. We must not think of him merely as a musician, but as one who possesses deep knowledge and understanding and whose desire it is to resuscitate for the people of modern times the mysteries of the Holy Grail. Before Wagner wrote his Parsifal little was known in Germany of the mysteries and of the characters of whom he tells.

When men were brought into the mysteries, there were three distinct stages through which they had to pass:

The first was stupidity, simple-mindedness.

The second was doubt.

The third was blessedness.

The first was the stage when man was led right away from every prejudice that prevails in the world, and was made to depend upon the power he had in his own soul, made to depend upon his own power of love, so that he might be able to behold the inner light, to see it light up within him.

The second stage was that of doubt. This doubt comes to all when they are at the second stage of initiation, and is then resolved and raised up to a higher stage, even to the inner brightness and splendor known as “Saelde” or blessedness. That was the third stage where man was brought—consciously—together with the Gods.

Parsifal (“through the vale”) was the name given in medieval times to all such candidates for initiation, and “Parsifal” had to undergo these three stages in inner experience. With the insight of a genius, Wagner saw on that Good Friday, 1857, the guiding thread that must run through the whole development of Parsifal.

The Templars were those who stood for true Christianity as distinguished from Church Christianity. In the Middle Ages remnants were still left of the old degenerate mysteries. All that belongs to those is grouped together under the name of Klingsor. He is the black magician in contrast to the white magic of the Holy Grail. Wagner places him in opposition to the Templars.

Kundry is the modern version of Herodias, the symbol of the force of reproduction in nature, the force that can be chaste or unchaste, but is uncontrolled. Beneath chastity and unchastity lies a fundamental unity; everything depends on the way of approach. The force of reproduction that shows itself in the plants, within the chalice of the blossom, and right up through the other kingdoms of nature, is the same as in the Holy Grail. Only, it has to undergo purification in that noblest and purest form of Christianity which manifests in Parsifal.

Kundry has to remain a black enchantress until Parsifal releases and redeems her. In the polarity of Parsifal and Kundry we can sense the working of deepest wisdom. Wagner, more than anyone else, took care that men should be able to receive what he had to give without knowing that they were doing so. He was a missionary who had a most significant message to deliver—to deliver, however, in such a way that mankind was not aware of receiving it.

Wolfram von Eschenbach wrote an epic on “Parsifal.” It was inartistic, but it sufficed for his time; for there were in those days men who had a measure of clairvoyance and could accordingly understand Wolfram. In the Nineteenth Century it was not possible to make clear to man the deep meaning of that great process of initiation in a drama. There is, however, a medium through which man's understanding can be reached, even without words, without concepts or ideas. This medium is music. Wagner's music holds within it all the truths that are contained in the Parsifal story. His music is of such a unique character that those who listen to it receive in their ether body quite special vibrations. Therein lies the secret of Wagner's music. One does not need to understand it—not in the least! One receives in one's ether body the benign and healthful effect of the music. And man's ether body is intimately connected with all the movements and throbbings of the blood. Wagner understood the mystery of the purified blood. In his melodies are rhythms and vibrations that must needs beat in the ether body of man if he is to be cleansed and purified so as to be ready to receive the Mysteries of the Holy Grail.

We can only arrive at a full understanding of the quite individual way in which Wagner expresses himself in his writings when we look carefully into what lies behind it. Wagner was convinced that the human will receives a special illumination from the spirit. He said that the will is—to begin with—rude, clumsy, and instinctive; then it grows gradually more and more refined, the intellect begins to cast its light upon it, and man becomes conscious of suffering and through his becoming conscious of suffering, a purification is able to come about.

(Dr. Steiner here quotes a passage from Wagner where he is writing of his friend Gobineau, who held that this consciousness of suffering was the distinctive mark of the white race, and that man was able thereby to rise to clairvoyance and to a higher moral life.)

(Dr. Steiner continues:)

Wagner is here describing the process that consists in the reflection of the intellect upon the will, and of how man becomes thereby clairvoyant.

Wagner's creative work consists, in its essence, of a religious deepening of art; ultimately it is concerned with the deepening of man's understanding of Christianity. Wagner knew that Christianity can be shown forth to the world, best of all in music.

Through raising himself up to the contemplation of the inner mysteries of the world order, man can attain on the one hand knowledge and on the other hand also true piety. A path of development stands open for him, which will teach him to know the meaning of the fact of Christianity.