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There is a solemn pause in the music; the love-motive is uttered by the bass clarinet. Nothing is left for the vanquished and humbled hero but to offer her what atonement he can. He hands her his sword, bidding her this time wield it surely and not let it fall from her hand. But she has not yet finished with him: Is. How badly I should serve thy lord!
The editor placed a cigarette in a holder presented to him by a reigning monarch, and lit it with a match from a golden box, the gift of the millionaire president of the Amalgamated League of Working Plumbers. "What this magazine requires," he said, "is red-blooded, one-hundred-per-cent dynamic stuff, palpitating with warm human interest and containing a strong, poignant love-motive."
'Wagner was a great artist in spite of himself, said Diaz, when he had finished. 'He assigned definite and precise ideas to all those melodies. Nothing could be more futile. I shall not label them for you. But perhaps you can guess the love-motive for yourself. 'Yes, I can, I said positively. 'It is this. I tried to hum the theme, but my voice refused obedience.
Her finish has given occasion to the witticism that the most beautiful thing in the work is the last note. To this I see no reason to demur; it contains nothing more entrancing than the rise to the fifth of the chord at her final cadence Once more the love-motive is softly breathed in the oboi and the whole closes on the chord of B major three times repeated by the orchestra.
At the 78th bar the music begins to modulate, and seems tending to the distant key of E flat minor, the love-motive is taken up forte and piu forte by the trumpets, but in bar 84 the modulation abruptly comes to an end, the soaring violins fall to the earth, and the piece ends as it began, with a reminiscence of the first part in A minor.
He springs from his couch, tears the bandages from his body; the blood streams from his wound; he staggers to the middle of the stage as he hears Isolde's voice and sinks into her arms as she enters. The love-motive is heard in the wood-wind like a long dying breath as, breathing the word "Isolde," he expires.
As it approaches the end the love-motive absorbs the whole orchestra, passing into No. 10 from the prelude of the second act, rising higher and higher.
The orchestra dies away; one chord is heard alone on the harp, and the violoncello continues the love-motive as he breathes away his life. Isolde is left alone with Kurwenal, who has followed her. The soliloquy in which she laments the cruel destruction of the plan for saving Tristan is profoundly touching, both in the words and in the melody: Art thou dead? Tarry but for one hour, one only hour.
The orchestral accompaniment during Isolde's speech has a very solemn character imparted to it by slow chords of the trombones, piano, with somewhat feverish semiquaver triplets on the strings, snatches of the love-motive and other motives being heard in the wood-wind; while in the pauses, runs on the violins mark Kurwenal's impatience.
The most important motive of all, the one which pervades the drama from beginning to end, is the love-motive.
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