Wagner saw many opportunities in the legends and poems, and as was his wont synthesized them in the shape we know as Parsifal. His Parsifal is a born innocent, a pure fool. Wagner pretended to derive the word from Parsi-fal or Fal-Parsi—_i.e._ Pure Fool—born after the death of his father, Gamuret, and living alone with his mother, Herzeleide, in the woods. Attracted by a cavalcade of shining knights he follows it and finally enters the domain of the Grail. Let us leave him there and consider that curious composition of the poet-musician—Kundry. Wagner found some of her characteristics in the old poems, but to him belongs the credit of creating the woman we see in his drama. She is Kundry the enchantress, Herodias, who laughed at Christ, who had John the Baptist beheaded—“she is said to have laughed when she bore aloft the head,” and it breathed upon her, thus condemning her to eternal wandering. Besides this, Kundry is also Gundryggia of the Northern nymphs, the slaying Valkyr. A type of the eternal temptress, and yet a Magdalen, Wagner calls her the Rose of Hell, the She Devil, a tempestuous spirit, a perpetual seducer. She is under Klingsor’s rule, though she humbly serves the Grail Knights in their estate when she is not asleep. Asleep, Klingsor can summon her as he wills, and then, instead of the Beneficent Kundry, she becomes the Demon Kundry. Now follows the story of Richard Wagner’s Parsifal, which I condense with the help of Maurice Kufferath’s version and from the epitomes of von Wolzogen, Albert Heintz, and many others. It is assumed before the curtain rises that the spectator is acquainted with the tale of the foolish lad Parsifal and his roaming in the forest, bow and arrow in hand, in pursuit of the “shining men mounted upon noble steeds.” He loses his way and enters the region of the Grail. At this point the curtains part and we see a deep wood in a mountainous district. The book of the play tells us of the scene of action: “The domains and Castle Montsalvat of the Guardian of the Grail, with scenery characteristic of the northern mountains of Gothic Spain. Later Klingsor’s enchanted castle on a southern slope of the same mountains, looking toward Moorish Spain.” The scene in Act I represents a clearing upon the border of a beautiful lake. It is morning. Stretched in slumber upon the ground are Gurnemanz, a pious, hale old servant of the Grail, and two squires. Brass music awakens them, and after prayer they prepare to attend the King Amfortas, who is at the very moment approaching the lake for his bath—he suffers cruelly from his wound. Two knights appear and inform the others of this suffering. The balsam of Gawain is without effect. Suddenly there appears on the edge of the forest a terrible figure. It is Kundry. Wagner thus indicates her appearance: “in wild garb fastened high with a hanging girdle of snakes’ skins; black hair, flowing in loose tresses; dark brown, reddish complexion, piercing black eyes,