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Updated: May 12, 2025
It is given at first to the horns, and over it sways a lovely melody, leading to Tristan's cry of "Oh, Isolda!" which occurs again and again until Isolda does come. There are few tender and beautiful and pathetic things in music to match it. Presently the horn of the shepherd is heard again; but this time it plays a lively tune, as a signal that the ship is in sight.
Nor did he construct his music-drama to expound a philosophy. For a long time the air was thick with arguments pro and con with regard to the amount of Schopenhauer he had made use of in his libretto. Now, it is true that both Tristan and Isolda indulge at times in something approximating to the Schopenhauer terminology; but of Schopenhauer's or any other philosophy I cannot find a trace.
She was depicted trampling on a grinning knight evidently the devil in one of his many disguises, though as like Prosper as description could provide. Underneath, on the pedestal, ran the legend Sancta Isolda Dei Genetricis Ancilla Ora Pro Nobis. He set this up in his chamber over a faldstool, and said three Paters and nine Aves before it daily.
Then he wakes up, goes over the whole history of his love for Isolda, and faints once more; once more he half awakes and as in a dream sees the ship decked with flowers speeding over the summer sea. Suddenly the shepherd strikes in with a lively tune: "Isolda is at hand," cries Kurvenal. "Hasten to bring her," shouts Tristan, and Kurvenal does so.
It takes one shape when Brangaena tells Isolda that they will land before evening; and in nearly the same shape it returns when Brangaena goes to bid Tristan enter her mistress's presence; in the meantime lengthy passages have been woven from it during Isolda's first angry outburst; in one form or another it is worked again and again, always conveying just the feeling of the moment, yet never losing its original colour.
‘The cul-de-sac of all reforms!’ said Amoret, tragically. ‘It’s impossible to suggest any revision in the marriage system that isn’t instantly quashed by the children complication.’ We all sat silent, busy with our thoughts, and then Isolda shuddered. ‘Duogamy’s no good,’ she said emphatically, ‘and I am so disappointed!’
This finishes the metamorphosis begun in the second act: after some other incidents, Isolda, rapt in her spiritual love, sings the death-song and dies over Tristan's body. What is the libretto of "Otello" or of "Falstaff" compared with this libretto? From beginning to end there is not a line, not an incident, in excess.
Moreover, he had by this time recovered the equilibrium which had been so seriously disturbed by his first sight of Senorita Isolda, and had again found the use of his tongue; it was therefore a very gay and happy quintette that arranged itself around the well-furnished table.
Isolda answers straightway that she will follow. Tristan and Melot fight, but Tristan allows his treacherous foe to run the sword through him, and he falls. Then we get the curtain; Tristan has done with this world and has started out for another, and the drama has taken a second step towards its goal. This, held for long to be bad craftsmanship, is consummate, daring craftmanship.
Almost at the beginning of the first act Isolda, devoured by a longing for revenge, schemed to murder Tristan, and she does not falter in her purpose until he has taken the drink; the reaction has all the violence of a cataclysm; all is delirium; there is not a moment of happy lingering over the joy of a possible; new life; there is no time for that, no thought of it.
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