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Updated: May 29, 2025
He greeted Jack's appearance in Senorita Isolda's company with something very nearly approaching a scowl, and coldly acknowledged Senora Montijo's formal introduction of the young man with an air of careless hauteur that was eloquent of his disapproval of the young man's presence in the house, which he further emphasised by thereafter contemptuously ignoring Jack for a time.
At the first glimpse, the house, when they reached it, appeared to have suffered very severely, for many of the windows were broken, and the once immaculately white walls were streaked and blackened here and there by fire and smoke: and when they entered the building, everything was found in a most shocking state of confusion; the furniture was overturned and much of it was broken, a great deal of it was irretrievably damaged by fire, great holes had been burnt here and there in the flooring, cupboards and bureaus had been broken open and their contents scattered, apparently in a search for money or valuables; many small articles of value were missing, pictures were slashed and torn, poor Dona Isolda's grand piano had but one leg left and was otherwise a complete wreck, and some priceless china vases and bowls that had been the glory of the drawing-room were lying on the floor, shivered to atoms.
The visit of the yacht to this out-of-the-way spot was ostensibly for the purpose of enabling that erratic and irresponsible young Englishman, her owner, to enjoy a day or two's fishing, Guantanamo harbour being noted for the variety of fish with which its waters teem, and the excellent sport which they afford; but Jack's first act was to go ashore and pay an early visit to the telegraph office, from which he dispatched a cipher wire to Don Ramon Bergera, briefly acquainting that gentleman with the bare facts of the rescue and Dona Isolda's death.
Isolda's command to Tristan to come before her, Tristan's evasions, Kurvenal's rude answer, the rough gibing bit of sailor chorus, the episode of the two chalices the love potion and the poison the scene between Isolda and Tristan in which he offers her his sword and tells her to take her revenge by killing him forthwith, the drinking, the wild embraces and the arrival of the ship in port amidst the clatter of triumphant trumpets such things might have been, and were, done by Wagner in his Tannhäuser days.
To the music also the passion and fervent heat of the second act are due, and the thunderous atmosphere, the sense of impending fate, in the last, and the miraculous sweetness and intensity of Tristan's death-music, and the sublime pathos of Isolda's lament.
Tristan knows how great is the crime he must make amends for: not merely Morold's death, but the winning of Isolda's heart, the desertion, the cruel coming to claim her as his uncle's bride; he says he will drink only in oblivion can he find refuge from the toils in which he has involved himself; he lifts the cup to his lips, drinks, and as he drinks Isolda, crying "Betrayed, even here," snatches the cup from him and drains it.
At the last he sees Isolda throwing down the torch as she did in Act II, and as darkness comes over his eyes we hear the same music combined with the love-themes. There is only one thing of the kind to match Isolda's lament Donna Anna's grief over her father's body in Don Giovanni. The rest of the act is largely made up of music which has been heard before.
In the presence of the master and mistress the negroes, with that innate sense of delicacy which governs their conduct toward those whom they love, were careful that the signs of their grief at the loss of their beloved young mistress should be confined to a few respectful expressions of sympathy; but when Mama Faquita, Senorita Isolda's old nurse, having extracted from Carlos a tolerably full and detailed account of the circumstances that had culminated in her beloved young mistress's death, went the round of the negro huts that night, she kindled in the breasts of her fellows a flame of fury and vengeful longing that was destined to consume Senor Alvaros.
He bitterly avoids understanding her meaning; Brangaena becomes more urgent; Kurvenal, Tristan's servant, a faithful watch-dog, asks to be allowed to reply; Tristan says he can. Kurvenal bellows out a song praising Tristan as the heroic slayer of Isolda's betrothed, Morold.
Now, from what my sister tells me, I have a suspicion that Alvaros is anxious to contract a matrimonial alliance with our family which, I may tell you at once, Jack, he will not be permitted to do; and my belief is that the fellow simply cannot endure to see another man in Isolda's society, and that is why he wants you to go.
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