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Updated: August 13, 2024
If an interest in, and a sympathy for, the thought-visions of men like Charles Kingsley, Marcus Aurelius, Whit tier, Montaigne, Paul of Tarsus, Robert Browning, Pythagoras, Channing, Milton, Sophocles, Swedenborg, Thoreau, Francis of Assisi, Wordsworth, Voltaire, Garrison, Plutarch, Ruskin, Ariosto, and all kindred spirits and souls of great measure, from David down to Rupert Brooke, if a study of the thought of such men creates a sympathy, even a love for them and their ideal-part, it is certain that this, however inadequately expressed, is nearer to what music was given man for, than a devotion to "Tristan's sensual love of Isolde," to the "Tragic Murder of a Drunken Duke," or to the sad thoughts of a bathtub when the water is being let out.
Could Maurice answer "At Madeleine's?" He still hesitated, and the countess, with more rapid steps than she was wont to use, hastened to Count Tristan's bedroom. Mrs. Gratacap greeted her with "Oh, poor dear, don't take on about it! We couldn't but expect that it would come soon, and"
You have saved her; you have saved me; it is life you bring a new life, Franz," and smiling upon him, her cheeks still wet with tears, she softly sang Tristan's phrase to Kurvenal: "Holder! Treuer! wie soll dir Tristan danken!" Her joy, her ecstasy of gratitude, shone upon him. She was the tutelary goddess of his family.
Isolda tells Brangaena to command Tristan to come to the pavilion. Kurvenal, his servant, sings a scoffing song, in which all the sailors join, in spite of Tristan's endeavour to stop them. Brangaena rushes back and hurriedly closes the curtains.
Night has come on, and Isolda falls on Tristan's body and dies, fulfilling the promise she had made that where he went she would follow. And so ends the greatest music-drama ever written, and the greatest likely to be written for centuries to come. We must pass on now to The Mastersingers, an old idea of Wagner's. The music was completed at Triebschen.
Blaireau rose, turned his back to the fire and sat down between my legs, as if he thought that something strange and unexpected was going to happen. I then realized that this place was none other than my grandfather Tristan's bed-room, afterward occupied for several years by his eldest son, the detestable John, my cruelest oppressor, the most crafty and cowardly of the Hamstringers.
Kufferath quotes unfortunately without giving a reference a Minnelied of Gottfried, which is obviously reproduced in the second act, where the lovers keep harping upon the words "mein und dein." Many references which are obscure in Wagner are explained in Gottfried's epic, such as the circumstances of Tristan's first visit to Isolde in Ireland, with the splinter in Morold's skull.
How, one must ask, does the learned author reconcile this statement with Tristan's words just before he drinks the supposed poison: "Tristan's Ehre hoechste Treu'"? What is the meaning of the whole dialogue of the second act, of Tristan's address to Isolde at the end, and of her reply to him when both go forth to die?
The mother's eyes were also closed. At that moment, the sun rose, and there was already on the Place a fairly numerous assembly of people who looked on from a distance at what was being thus dragged along the pavement to the gibbet. For that was Provost Tristan's way at executions. He had a passion for preventing the approach of the curious. There was no one at the windows.
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.
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