purpose is to give an interpretation, a _cumulative impression_, the
spirit of the words, music, and mystic meaning, blended together into
one story and picture. It is made after a very careful study of the
German text of Wagner for essential meanings, and after an appreciative
hearing of the great drama itself, on two occasions, at Bayreuth. We
present it in the form in which such sacred legends seem to find their
most natural English setting,--in the form made classic in Tennyson's
Idylls of the King.

It may also be interesting to note that the present version was planned
ten years ago on a first visit to Bayreuth. Critical work on the German
text and in the literature of the Parsifal legends was done later during
two years at the universities of Berlin and Oxford. But the actual work
of this translation and interpretation was done in the summer of 1902 at
Bayreuth, and in part at Nuremberg and Munich. It may also be stated
that this version is issued with the kind permission of Messrs. Schott
and Company of London, the owners of the copyright of Wagner's words and
music.

The music of Parsifal has been so often described and analyzed in
critical papers that it is not necessary here to speak of it in detail.
This word, however, may be in place. The marvellous music at Bayreuth
helped in every way in the interpretation of the drama. Every part and
phase of the thought and movement were brought forth in the various
musical motives, adding emphasis and beauty and intensity of feeling.
Now the music would whisper of the wondrous grace of the holy sacrament,
or of the sweet beauty of God's world, clothed in the radiance of Good
Friday; now it would reveal the sorrows of the gentle Herzeleide, or the
awful anguish of Amfortas, or the deep rumblings of Klingsor's black
art, or the fascinating music of the flower-maidens. Often came the pure
tones that told of the guileless One, or the strong chords of mighty
faith, or the ebb and swell of mystic bells, or the glory of the sacred
Spear. Now came the regal blasts for Parsifal, and often and through it
all, the splendid music of the Grail itself. The music was like a
fragrant atmosphere to the drama, softening and refining what was harsh,
giving a needed stress here and there, and investing the whole story
with a subtle and uplifting charm.

The drama of Parsifal teaches its own great lessons of life. Yet one or
two suggestions of interpretation may not be amiss, for it is