The word ’empathy’ has become very popular in recent times and has somehow come to get itself associated with a whole host of different political issues. It shouldn’t surprise us, then, that the concept has become tarnished with the usual sanctimony and hypocrisy that pervades political discourse. However, even this hypocrisy is revealing because it shows that empathy is accepted as a virtue.
So pervasive has this notion become that it would surprise many people to know that it was only in the middle of the 19th century that empathy, compassion, and kindness appeared on the scene. Prior to that, nobody much cared about being empathetic. Life was tough, and other virtues such as discipline and stoicism were more necessary.
As is so often the case, the arrival of a concept in the broader culture had a direct antecedent in the intellectual realm, which raises the unanswerable question of whether ideas create the world or whether the world accepts those ideas for which it has become ready. In any case, the concept of empathy was not originally born out of humanitarian concerns but out of the completely unrelated scholarly discipline of aesthetics.
Now, there’s a whole backstory here which I might flesh out in more detail in a future post. The very short version is that the focus on emotions and feelings began in the German philosophical tradition with the philosopher Herder (one of Kant’s best students). For reasons that date back to the ancient Greeks, traditional philosophy had been entirely preoccupied with logic and reason. Herder and others realised that this meant that some core human faculties had gone all but unexplored.
The result was an avalanche of new thinking that came to be called the romantic movement due to its focus on emotions. Art was central to that movement, and that is why the concept of aesthetics comes into the picture. It was Rudolf Lotze who coined the term referring to the feeling of immersion we might experience when in the presence of a great work of art. This immersion was holistic in nature and included any emotions felt by the observer.
With this very brief background in mind, it’s not surprising that one of the first people to explicitly incorporate the concept of empathy into a work of art was a German. In fact, it was none other than the arch-romantic himself, Richard Wagner. All of Wagner’s mature operas encourage empathy in the audience by creating an immersive experience that he called the Gesamtkunstwerk. But it was his final opera, Parsifal, which showed the concept of empathy directly by presenting a hero who undergoes the process.
In actual fact, Parsifal is a deeply personal story. It was Wagner’s apology to the man who knew his operas better than anybody, and who he had betrayed, the philosopher Nietzsche. Anybody interested in that should check out my book on the subject (it really does require an entire book to explain).
The insertion of personal themes was nothing new for Wagner. All of his operas contain them. But these don’t detract from the larger meanings at play. When we take Parsifal at face value, we can see that Wagner’s representation of empathy was unique and certainly very different from the dominant connotation that the word has come to have in our time. For that reason, it’s worth exploring how he approached the subject in his final opera. That’s what we’ll do in this post.
If we think about all the words that are similar in meaning to empathy, such as compassion, sympathy, and pity, what is noteworthy is that all of them have the connotation of suffering. This is a curious fact because the Greek word “pathos” has the mostly neutral meaning of “feeling” or “emotion”. Clearly, we can experience positive as well as negative emotions. Equally clearly, we can share positive emotions. Walk into a room where people are having a good time, and chances are your own spirits will be lifted. Nevertheless, the words we use to denote shared emotion all imply that the emotion is a negative.
As far as I’m aware, there is no word in English that has the meaning of sharing joy or happiness. The closest we get are words like celebrate, congratulate, or rejoice. Interestingly, the Germans do have a word for this (but, then again, the Germans have a word for everything): Mitfreude. It’s like Schadenfreude, only instead of taking pleasure in another’s pain, you take pleasure in their pleasure.
In relation to art, there are well-defined genres that are concerned with “sharing” the experience of pleasure or pain. Tragedy is primarily about the representation of negative emotions, while comedy is about the positive. This brings us back to Wagner. Most of his operas were tragedies, with the exception of Die Meistersinger, which is a comedy. Parsifal, on the other hand, breaks the rules. Wagner leads us to believe we are watching a tragedy, but it ends as a comedy. That’s just one of several fascinating inversions in the story, which originally got me interested in analysing it at a deeper level and which eventually led to me writing my latest book.
Just as Wagner blurred the lines between tragedy and comedy in Parsifal, he also took a novel approach to the representation of empathy. In a normal story, we are invited to empathise primarily with the hero and to view events through their lens. Wagner expands that by having the hero empathise with another character. This is unique not just because it is a direct representation of empathy as a lived experience in the hero but also because of the nature of the character the hero empathises with.
To understand that, we need to know a little about the two characters. First, we have the hero, Parsifal, who is a classic child of nature in the romantic tradition. Pretty much all of Wagner’s operas feature this kind of character. Parsifal was raised alone in the forest by his mother. At the start of the opera, he accidentally stumbles into the seat of the Holy Grail and is invited to watch the ceremony that is about to take place.
This leads us to our second character: the injured king, Amfortas. He is the star performer in the ceremony and will uncover the Grail. Parsifal does not understand the meaning of the ceremony or the king the first time around, but he will later empathise with it in the sense that he will viscerally re-experience it. That is, he will feel the same things that the wounded king Amfortas felt, both good and bad. We as the audience are also invited to empathise with Amfortas through Parsifal.
There’s much that could be said about that, but the thing to focus on here is the highly unusual nature of the character of a wounded king, especially when the hero of the story is a young man looking for somebody to emulate. If we think of the classic Ruler archetype as presented in great literature and art, we find three main types. There are fallen Rulers such as King Lear and Oedipus, wise Rulers like King Arthur and Aragorn, and villainous Rulers like Darth Vader and Richard III. What Wagner creates with Amfortas is, as far as I’m aware, a brand new type of Ruler, one who is neither fallen, wise, nor villainous.
The ceremony that Parsifal watches near the beginning of the opera makes this clear. Amfortas is wounded, but the time has come for the annual uncovering of the Grail. That is his responsibility. Around him are all the knights of the Grail, who are waiting to receive the sacred bread and wine. Because the ceremony causes him enormous pain, Amfortas begs to be spared the task. But the knights of the Grail demand that he carry it out. He does what is asked, and the knights take the bread and wine. Afterwards, Amfortas collapses from the exertion and is carried out on a stretcher. We know from earlier dialogue that this has been happening for many years. Amfortas has a wound that will not heal but which does not kill him.
Although this all sounds very bleak, we also see that Amfortas rises above his pain during the uncovering of the grail. In fact, he is in a kind of ecstasy. This is important because it shows that he also gets something out of the ceremony. Moreover, as the audience, we are being asked to empathise with both the positive and negative emotions on display. We might wonder what it means to feel such ecstasy, especially as a respite from pain. We also might understand that the delight that Amfortas receives comes partly from the adoration heaped on him by the knights of the Grail. They are in a symbiotic relationship rather than one based in coercion.
If we compare Amfortas to any other famous Ruler character in literature, film, and art, we can see how unusual he is. The typical Ruler leads his people to victory or fails to do so and is brought undone. The just Ruler earns the respect and devotion of his followers. The villainous Ruler earns their contempt and rebellion. In both cases, the Ruler is assumed to be the responsible party. What Wagner shows us is something very different. He makes it clear that the knights of the Grail are driving Amfortas on. They are demanding that the king perform.
Let’s think back to the point made earlier about the meanings of the words empathy, compassion, and sympathy. We noted that these all have a default connotation of sharing in another’s pain. Since we are in a weakened state when we feel pain, there is an implied element of pity in this dynamic. But this pity only exists when we believe that the individual is not responsible for their predicament. We typically don’t feel pity so easily when the person has brought misfortune on themselves.
The flipside of this is that the rich and powerful are assumed not to deserve sympathy because they have the agency required to avoid the most common types of misery in life. In fact, the Ruler has the power to inflict misery on others. The main question is whether their use of power is just or unjust. For these reasons, the Ruler is somebody to be feared or respected, not to be empathised with.
Therein lies the brilliant innovation that Wagner makes in Parsifal because he is not asking us to empathise with the usual suspects (the poor and downtrodden); he is asking us to empathise with a king. However, the king he shows us is not the usual all-powerful type. Amfortas does have the power to uncover the Grail. That is his unique strength and that is why the others need him. However, this power also causes him pain. A strong argument can be made that the knights of the Grail are responsible for that pain. Thus, Wagner has inverted the usual pattern of the Ruler archetype.
We are so used to thinking of Rulers as all-powerful and all-knowing heroes that this portrayal is initially confusing. This is one of the reasons why most audiences and commentators have not understood the meaning of Parsifal. It also doesn’t help that the dynamic is presented in the form of a medieval myth. To make it easier to understand what Wagner is trying to say, let’s transpose the situation into something more modern.
Instead of a king, let’s imagine that Amfortas is the CEO of a corporation. And let’s swap the knights of the Grail for those people who have an association with the corporation, i.e., the employees who work for it, its customers, its suppliers, the governments who earn tax from it; etc.
Imagine that Amfortas gets up at a press conference and says that, because sales are down, profit forecasts will need to be cut, wages will have to be lowered, and some creditors may not have their bills paid. Would we expect anybody to empathise with the CEO in this case? Would employees happily accept a cut in wages? Would shareholders tolerate a reduced dividend payment? Would suppliers accept the cancellation of invoices? Would any of these people have sympathy for the efforts that Amfortas has made or the trials and tribulations that led to this moment in time?
The answer is obviously no. Everybody would demand that Amfortas resign or be sacked. That is the way things work in the real world, and that is exactly what Wagner shows us in Parsifal. The knights of the Grail do not care a jot for the fact that Amfortas is wounded and in pain. They simply demand that he produce the goods. The same thing would happen if he was a modern CEO or political leader. In short, nobody has empathy for leaders. It is so far from our default assumptions about the world that the very idea of it is hard to fathom. That’s why Parsifal is notoriously difficult to understand.
Of course, there’s a very obvious reason why people struggle to empathise with leaders, and that’s because most people never become one themselves. It is much easier to empathise with what we know from direct experience. The reason why the words empathy, sympathy, and compassion all have default connotations of pain is because we all have times in life where we suffer, whether it be a physical malady, a general misfortune, or the death of a loved one. Everybody can empathise with these states because they know them firsthand.
By contrast, very few have direct experience of leadership, especially leadership of important institutions. Therefore, almost nobody really understands the specific difficulties faced by the leaders of such institutions. Among other things, being a leader involves taking responsibility for decisions where you know some people will be adversely affected. It involves causing pain in others.
What Wagner shows us is a leader who feels the pain of that responsibility. But he also shows the alienation and loneliness experienced by a leader who nobody else understands because they don’t care about the leader as an individual, they just care about what they get out of him. One of the brilliant twists in the story is that the hero, Parsifal, will become the only one who really understands Amfortas, the only one who empathises deeply with what it means to be a leader. Wagner was no doubt hoping that some of his audience would also get the message, but the general lack of understanding of Parsifal shows that this is still not the case even today. (Nietzsche, of course, did understand, as he always did).
Apparently, we’re still not ready to empathise with leaders. We can see this by comparing Parsifal with what is superficially a very similar story: Star Wars (Grail knights vs Jedi knights). The heroes are almost identical. Luke Skywalker is a naïve young farm boy. Parsifal is a naïve young boy raised in the forest. Both are called on to become a knight.
Luke will receive instruction from Obi-Wan, who we know is the good guy. He has no character flaws. Everything he does is in the interests of truth and justice. He’s 100% good. By contrast, Vader is 100% bad. Luke must choose between these two examples, but he is never asked to empathise with them, and we as the audience are not asked to either.
As a result, we have no real understanding why Obi-Wan is good or Vader is bad. Even when Vader redeems himself at the end of Return of the Jedi, it is not through any real change of character. He simply stops being a villain and starts being a good guy. What inner process drove him to this change is not something we are asked to consider. Star Wars does not require us to be empathetic.
Wagner’s opera requires empathy not just from the hero but from the audience. Using that as a tool, he shows an infinitely more subtle and nuanced view of what leadership is. For him, leadership requires both “good” and “bad” behaviour. A real leader must be both Obi-Wan and Darth Vader. They must be capable of evil as well as good. That is what is shown to Parsifal, who understands that if he wants to become a leader himself, he must accept the same deal. By contrast, Luke Skywalker never has to deal with the problem of evil. His job is to kill the evil people. In doing so, he remains good and pure, just like Obi-Wan.
The other main point that Wagner makes is the one we have already touched on, i.e., that a leader must meet the demands of his followers if he wants to retain their allegiance. Contrast this with Star Wars, where the dopey stormtroopers exist entirely to do whatever Vader tells them. That is not how things work in the real world. In the real world, followers want things too. In truth, that means the followers should also accept responsibility for what happens. However, the myth of the all-powerful leader allows followers to avoid that responsibility. Just like Luke Skywalker, they remain good and pure.
It is a tribute to how deep-seated the myth of the all-powerful leader is that Parsifal is the least understood of Wagner’s operas. All kinds of weird and wacky interpretations have been put forward to explain its meaning because the idea of (really) empathising with a king is just too far-fetched. But, of course, this same belief structure is applied to the real world in which we live. How we (mis)interpret art is how we (mis)interpret reality.
The myth of the all-powerful leader remains dominant in our time. This allows us to believe that leaders are responsible for everything and we are responsible for nothing. If we were to take Wagner’s invitation and empathise with our leaders, we would have to take responsibility for our part in the relationship. That is what nobody wants to do. Thus, the real lack of empathy is not in the leaders but in the followers. That is what Wagner shows us in Parsifal.



