#Kundry

[mysterious-secret-garden]

Henri Fantin-Latour - Evocation of Kundry (2nd plate).

[dispactke]

Parsifal, the wounded Amfortas, and Kundry.

From Willy Pogány's illustrations from Richard Wagner's Parsifal, or the Legend of the Holy Grail (1912).

[aliceliawitch]

Kundry - schön wie Venus (Parsifal & Kundry - "Im Zaubergarten") Carl von Marr (1858-1936) Oil on canvas - 1911.

[callassiani24]

MARÍA CALLAS as Kundry in Parsifal under the batton of M. TULLIO SERAFIN, sung in Italian, Feb 26th, 1949.

[va-lentine]

[mapecl-stories]

Titel: Marcus - Die Suche nach dem Gral

INT. HÜTTE IM ABGESCHIEDENEN WALD - TAG

Eine abgelegene Hütte im Wald, in der der junge Marcus aufwächst. Seine Mutter, Herzeleide, unterrichtet ihn in einfachen Dingen und hält ihn von der Außenwelt fern.

HERZELEIDE (zärtlich) Du bist etwas Besonderes, Marcus. Aber du musst hier bleiben und vor den Gefahren der Ritterwelt geschützt werden.

MARCUS (verwirrt) Aber warum, Mutter? Ich möchte die Welt sehen und ein tapferer Ritter sein!

INT. WALDRAND - TAG

Marcus beobachtet eine Gruppe stolzer Ritter, die durch den Wald ziehen. Ihre Rüstungen glänzen im Sonnenlicht. Fasziniert von ihrer Erscheinung beschließt Marcus, ihnen zu folgen.

INT. RITTERBURG - TAG

Marcus wird von den Rittern in die ritterlichen Künste eingeweiht. Er lernt zu kämpfen, zu reiten und ein wahrer Ritter zu sein.

INT. MONTSAKVAT - GRALSKÖNIGREICH - TAG

Marcus hört von einer mystischen Gemeinschaft, die den Heiligen Gral beschützt. Fasziniert von der Idee, Macht und Unsterblichkeit zu erlangen, begibt er sich zum Gralskönigreich, auch Montsakvat genannt.

INT. KLINGSORS ZAUBERGARTEN - TAG

Marcus gerät in den Zaubergarten, den Klingsor errichtet hat. Er wird von Kundry, einer verführerischen jungen Frau, in Versuchung geführt. Unwissend von ihrer Vergangenheit, küsst Marcus sie.

INT. MONTSAKVAT - GRALSBURG - TAG

Marcus erfährt von Kundrys Vergangenheit als Verursacherin der Wunde des Gralskönigs Amfortas. Er erkennt seine Schuld und beschließt, den Gral zu suchen, um Amfortas' Leiden zu heilen.

INT. KLINGSORS ZAUBERGARTEN - NACHT

Marcus kehrt zurück, um Kundry und den Zaubergarten zu besiegen. Er widersteht den Verführungen und setzt seinen Weg fort.

INT. MONTSAKVAT - GRALSBURG - TAG

Marcus trifft auf den leidenden Amfortas. Er enthüllt den Gral und heilt Amfortas' Wunde durch bedingungslose Liebe und Reue.

INT. FESTSPIELHAUS - AUFFÜHRUNG - TAG

Die Oper "Marcus" wird in einem speziellen Festspielhaus aufgeführt. Die Zuschauer sind tief bewegt von der Geschichte der Liebe, Sühne und spirituellen Transformation.

BACKSTAGE - TAG

Der Komponist, der "Marcus" geschrieben hat, fühlt eine tiefe Befriedigung, da sein Werk das Publikum berührt und die Themen von Menschlichkeit und Erlösung vermittelt.

ENDE

[lanuevaeradeacuario]

The Specter of Kundry

In the second act of this Wagnerian drama, a horrible dungeon and the inner keep of an old tower almost in ruins appears with sinister clarity. A gallery of bare stone, steps inevitably leads up to the battlements of the Dantesque wall. Darkness dreadfully reigns down below in the mysterious background of that black den, which is always accessed by descending from the dreadful abutment of the…

[maddiviner]

I was a Thelemite (follower of Crowley's spiritual philosophy) from roughly late 2011 until (gradually) several years later. I wrote a few posts in my #thelema tag here about my bizarre experiences in the Thelemic community online (read: Crowley fandom).

I spent way too much time online in my early twenties. Did a lot of mental gymnastics to justify it to myself, too, both spiritually and in other ways.

And I always went to the worst possible sites, too. Bet nobody can guess which site got me introduced to Crowley. Three guesses, first two don't count, LMAO.

The #thelema tag's also got some older (quite a few, mostly reblogged, IIRC) pro-Thelema posts, still, that I ought to sweep up. This site's getting unwieldy.

Also, there's this tag focused on my experiences with Crowley's Kundry (tempting siren) concept.

I was accused of being one during my time in Crowley's A∴A∴, apparently. It caused some... issues, as you might expect. You'd be surprised how much misogyny a concept like that can contain.

Please realize that when I'm saying a lot of this, I mostly mean the online Crowley fandom, which is absolutely a thing.

The Thelemites I knew offline back in the day weren't like that at all. They were always kind and welcoming, even when I probably didn't deserve it.

It's not as if I was some kinda wide-eyed lamb wandering amidst a bunch of vicious Thelemic wolves. I'd lost a lot of perspective by 2013, and looking back, I was a huge jerk, too. Birds of a feather.

Around 2018, I tried to apologize (when safe) to those I probably hurt back then. Who knows how that goes. You never can really say the effects you've had.

A lot (like almost all?) of my really old articles on this blog still spell magic with a K. That's not exactly because I was in Thelema (though that was a factor).

In the 1990s and early 2000s when I started out, we just all spelled it that way and parroted that stupid line about it "distinguishing it from illusion." After a while, the internet got involved. People started using the K to distinguish it from video game and D&D stuff when searching.

There's plenty of other ways (and tags, for that matter) that'll do that, though. No need for the K, no need for little Aleister. I think I'll be editing some of those articles over the next few months if I can.

hii, i was wondering if you had a post explaining why spelling magic with a k on the end wasn’t okay? or maybe a link to another post explaining it? maybe i’m overlooking it but i’m not sure.

It's less a matter of "okay" and more a matter of its direct association with Aleister Crowley and him being a white supremacist douchebag.

Here is one post on why Crowley was a dumpster fire in a train wreck.

There are other posts on Crowley being a flaming pile of garbage that I can't find right now. Mutuals if you have easy access to them please feel free to post.

[hanzajesthanza]

poking around editions of fantastyka magazine saved and uploaded to the internet archive for some stuff i'm looking into, and found the '83 edition in which sapkowski's translation of the cyril m. kornbluth story "words of guru" featured :D

[classicalcanvas]

Title: Kundry

Artist: Rogelio de Egusquiza

Date: 1906

Genre: Portrait

[gawrkin]

(From Culhwch and Olwen)

(From Vita Merlini)

I've been bitten by the idea bug and have been brainstorming about how Guinevere and Morgan can each have their own women-only orders/girl gangs.

So here's a concept of Gwen and Morgan's gangs with the caveat rule of "they're always grouped in numbers of Nine" (because Nine is a mystical number and stuff, lol). Its a work in progress through:

Morgan's Group:

Morgan le Fay/la Dieuesse

Sebile (could be identified with anyone below)

Queen of Norgales

Queen of Eastland and/or Sorestan?

Queen of the Outre Isles?

Lady of Avalon? (Possibly Enfeidas, see below)

Lady Bertilak?

?

?

Guinevere's Group:

Guinevere

Isolde

Enide

Lady of Malehaut/Bloie

Creiddylad?

Olwen?

Maleagant's Sister?

Elibel/Elyzabel?

?

Undecided, Unaffiliated, or are second-degree related:

Nimue/Vivianne

Guinevere's other relatives (Lenomie, Flori, Jandree)

Brangwaine

Fenice and Thessala

Hellawes

Annowre

Britomart

Silence

Indeg

Tegan Eurfron/Guinier

Laudine and Lunette

Perse (Hector de Maris' Beloved)

Guinloie?

Lady of Nohaut?

Isolde White Hands?

Brandegorre's daughter?

Exceptions (people who I feel shouldn't be part of either Guinevere or Morgan's groups for one reason or another) are:

Morgause, her daughters (Soredamors, Clarissant) and daughters-in-Law (Guinevak-Cwyllog, Lynette and Lyonesse, Ragnelle, etc.),

Elaine of Garlot/Blasine/Brimesent, Elaine of Benoic/Clarine/Gostanza.

Older generation ladies like Igraine, Igraine's Sisters, Isolde the Elder, Blanchefleur/Elizabeth/Tristan's mom, Enfeidas and Ganieda

Grail Saga Ladies: Dindrane/Percival's sister, Amite/Elaine of Corbenic, Brisen, Queen of the Wastlelands and Kundry.

Elaine of Astolat

Tryamour/Lanval's Beloved?

Morfydd? Gaia Pulzella?

Percival's Beloveds (Angharad, Blanchefleur, Kondwiramurs)

the Beloveds of the next generation (Blonde Esmeree, Marthe, Elsa, etc.)

The next generation ladies (Archfedd, Melora, Gyneth, Seleucia, Licorida, Andronia, Enneuawc, Kelemon, etc.)

[talonabraxas]

The Knight of the Flowers, 1894, by Georges Rochegrosse. Detail and photo by Paul Perrin. The Knight of the Flowers — Georges Rochegrosse

Some paintings exist only to be admired.

This is the case of The Knight of the Flowers by Georges Rochegrosse, a painting that explodes visually and seeks no other pretension than the admiration of beauty.

The scene painted by the French artist belongs to an opera by Richard Wagner, Parsifal, which adapts a medieval epic poem dated in the 13th century, written by Wolfram von Eschenbach and entitled Parzival.

The painting refers directly to a passage in the opera’s second act. The protagonist, an Arthurian knight called Parsifal, is in the magic castle of Klinsgor (the evil one of the story); he has defeated the knights in the sorcerer’s service and continues on his way to defeat the enemy.

At that moment, he enters the garden of flower maidens, who seduce him and lament the knights defeated by Parsifal, for they were his lovers. The young protagonist lets himself be loved and bewitched by the beauty surrounding him until Kundry (a magical being invoked by Klinsgor) appears and brings a series of revelations that will change the destiny of the young protagonist.

Later Parsifal will reject her attempts at seduction, and she will curse him for the rest of his days.

This painting focuses on aesthetics, leaving aside the symbolism to focus on capturing a specific passage of the Germanic poem.

There is no other intention beyond capturing the concept of classical beauty since the fundamental canons that were already used in Antiquity and rescued in the Renaissance are observed.

Rochegrosse uses a very soft palette of colors, following the garden shown in the painting. The sky has pastel tones, as well as the flowers and the characters. The strokes are soft and, in some moments, flirt with impressionism, mainly in the elements of the landscape.

[yaeggravate]

just wanted to quickly share my thoughts on ronova's possible parallels to the character kundry, from wagner's opera parsifal

when the lord of the night talks about ronova she has this to say about her:

Yohualtecuhtin, Lord of the Night: The one you wish to know about... I call her "The Ruler of Death." She helped Natlan establish the rules. It was also under her guidance that I created the Night Kingdom... Yohualtecuhtin, Lord of the Night: It was an expression of love, as well as an act of reparation. She was seen as having significantly overstepped her authorities as a Shade, which quite displeased the almighty... Mm, Heavenly Principles. Yohualtecuhtin, Lord of the Night: She succumbed to self-pity as a result, and no longer cared if others discussed her identity. Even so, her existence remains unknown to all but a select few.

in the memory of xbalanque, we find out ronova has little freedom to do as she pleases. (though it's unclear what this means exactly)

Ronova: Very well. I shall agree to help you. But I am merely a Shade, and I do not have as much freedom to do as I please as you might think.

because i have anfortano on the brain, all of these bolded tidbits immediately reminded me of the sorceress kundry. in wagner's version, kundry was an (unwilling) accomplice in getting amfortas (spelled with an "m" here) cursed. kundry was wrecked with guilt over what she had done and tried to help amfortas and the grail knights despite her being under her master's control.

PARSIFAL Gurnemanz: Methinks a curse may still be on her life,—She is so wild and strange, so sad her very eyes. But now, whate'er the past, she is with us, And serves us to atone for earlier guilt. Perchance her work may shrive her of her sins. Surely she does full well to serve us well, And in the serving-help herself and us.

kundry was cursed herself to reincarnate over and over again for eternity. (because she laughed at jesus while he was being crucified lol.) she went under several names, one of which stood out to me; gundryggia. this name seems to be an invention by wagner himself that he gave his own meaning to:

In Act 2 of Wagner's music-drama, one of the names by which Klingsor addresses Kundry. Cosima's diary relates, "... at lunch he tells me: "She will be called Gundrygia (sic), the weaver of war", but then he decides to keep to Kundry" [14 March 1877]. Although it has been speculated that the name was that of a Valkyrie, the author has not been able to find the name Gundrygia or Gundryggia in any of the Old Norse sources, which contain many Valkyrie names. There is, however, a resemblance to the name Gunnr (meaning strife or battle), one of Odin's principal Valkyries, and this might have been the inspiration for Wagner to transform Kundry into Gundryggia.

at the end of the story, kundry dies and is freed from her suffering after parsifal saves amfortas.

back to capitano, it's said that ronova sent him on a long journey and that cap has a final foe to face. it's not explained yet what this means and can be interpreted several ways but when you consider possible kundry parallels perhaps ronova is helping cap break the curse which could potentially defeat her too or release her from her own torment/guilt over the Crimes™

anyway just something to think about, even if ronova isn't kundry, it would still be interesting to see her character implemented in the story in some way.

[fiannalover]

percival in love with his horse real??

There is wiggle room to say otherwise but Kundry IS the name of his lover in the German Play Parzival, so the fact his horse fairy (sentient! Human level intelligence!) is named that in LB6 is already eyebrow raising enough but then Red Rabbit gushes over him Like That (which bear in mind, is toned down, Red Rabbit can outright flirt with Muramasa and Percival depending on how you translate), so at the very least, horses Wanna do things to him

[mapecl-stories]

Title: Marcus - The Quest for the Grail

INT. COTTAGE IN A SECLUDED FOREST - DAY

A secluded cottage in the forest where the young Marcus grows up. His mother, Herzeleide, teaches him simple things and keeps him away from the outside world.

HERZELEIDE (tenderly) You are something special, Marcus. But you must stay here and be protected from the dangers of the world of knights.

MARCUS (confused) But why, mother? I want to see the world and become a brave knight!

INT. FOREST EDGE - DAY

Marcus watches a group of proud knights passing through the forest. Their armors glisten in the sunlight. Fascinated by their appearance, Marcus decides to follow them.

INT. KNIGHT'S CASTLE - DAY

Marcus is initiated into the ways of chivalry by the knights. He learns to fight, ride, and become a true knight.

INT. MONTSAKVAT - GRAIL KINGDOM - DAY

Marcus hears about a mystical community that protects the Holy Grail. Captivated by the idea of gaining power and immortality, he sets out for the Grail Kingdom, also known as Montsakvat.

INT. KLINGSOR'S ENCHANTED GARDEN - DAY

Marcus finds himself in Klingsor's enchanted garden. He is tempted by Kundry, a seductive young woman. Unaware of her past, Marcus kisses her.

INT. MONTSAKVAT - GRAIL CASTLE - DAY

Marcus learns about Kundry's past as the cause of the wound of the Grail King, Amfortas. He recognizes his guilt and decides to seek the Grail to heal Amfortas' suffering.

INT. KLINGSOR'S ENCHANTED GARDEN - NIGHT

Marcus returns to defeat Kundry and the enchanted garden. He resists the temptations and continues his journey.

INT. MONTSAKVAT - GRAIL CASTLE - DAY

Marcus encounters the suffering Amfortas. He reveals the Grail and heals Amfortas' wound through unconditional love and remorse.

INT. FESTIVAL THEATER - PERFORMANCE - DAY

The opera "Marcus" is performed in a special festival theater. The audience is deeply moved by the tale of love, atonement, and spiritual transformation.

BACKSTAGE - DAY

The composer who wrote "Marcus" feels a deep sense of satisfaction as his work touches the audience and conveys themes of humanity and redemption.

THE END

[opera-ghosts]

Edith Walker (1968-1950) as Isolde

She sang at age 14 as a soloist in the Old Church of Hopewell, then in Utica (New York) and on Long Iceland. She worked for a while as a school teacher. She came to Europe in 1891 and was trained by Aglaia Orgeni in Dresden. Further studies with Marianne Brandt in Vienna. She made her debut in 1894 at the Berlin Court Opera as Fides in ‘’Prophet’’ by Meyerbeer. First major success in 1895 with a concert in Leipzig Gewandhaus under Carl Reinecke. In 1895 she was engaged by the Vienna Court Opera, where she sang the role of Fides in ‘’Prophet’’ by Meyerbeer and Azucena in ‘’Trovatore’’ and remained until 1903. In 1896 she sang in the Vienna premiere of the opera ‘’The Evangelimann’’ of Kienzl. At the Salzburg Mozart Festival in 1901 she created the role of Donna Elvira in ‘’Don Giovanni’’. In 1903, after a dispute with Gustav Mahler, she left the Vienna Opera House. In 1903 she was engaged by the Metropolitan Opera in New York, where she made her debut as Amneris in ‘’Aida’’. She appeared at the Metropolitan Opera in “Lohengrin”, “Tristan und Isolde”, ‘’Faust’’, “Gioconda”, ‘’Martha’’, ‘’Favorita’’, “ and ‘’Lucrezia Borgia’’ (1904). In 1905 she sang here in the premiere of Johann Strauss’s operetta ‘’Die Fledermaus’’. Then she joined in the 1906-07 season at the Court Opera in Berlin and from 1907 to 1912 was a celebrated artist of the Hamburg Opera. At the Covent Garden Opera in London she performed in 1900 as Amneris, Ortrud, Fricka and Waltraute, then in 1908 and 1910 as Isolde as well as Thirza “The Wreckers” by Mrs. Ethel Smith and Elektra on 10/19/1910 in the English premiere of Richard Strauss’s opera ‘’Elektra’’. She made guest appearances in Brussels, Leipzig, Frankfurt (1907-12), Cologne and Prague with great success, she was especially admired as an interpreter in R. Wagner’s operas. At the Bayreuth Festival in 1908, she sang the role of Kundry in ‘’Parsifal’’ and Ortrud in “Lohengrin”. In 1910 she sang with great triumph in the Strauss Festival in Holland as Salome and Elektra. In 1909 she sang at the Beethoven Festival in the Hague the role of Leonore in ‘’Fidelio’’ under Willem Mengelberg. In the 1912-1917 seasons she worked at the Court Opera in Munich. In 1918 she sang at the Municipal Theatre of Elberfeld her farewell performance in Nibelungenring. After her retirement from the stage, Walker resided in Scheveningen, Holland until 1919 when she moved to Paris. She worked there as a voice teacher where she taught out of a private studio. In 1933 she joined the faculty at the American Conservatory in Fontainebleau where she taught through 1936. She then moved back to New York City where she continued to teach until her death 14 years later. Among her notable pupils were Irene Dalis and Blanche Thebom. She died at her home in New York City in 1950 at the age of 79 after a brief illness.