should renew my
connection with the stage." The legend of Tristan was selected. It is
derived from the old Celtic story of "Tristram and Iseult," the
version adopted by Wagner being that of Gottfried of Strasburg, a bard
of the thirteenth century, though it must be said he uses it in his
own manner, and at times widely departs both from the original and the
mediaeval poem.

In "Tristan and Isolde" Wagner broke completely loose from all the
conventional forms of opera. It has nothing in common with the old
style of lyric entertainment. As Hueffer says, in his recent Life of
Wagner: "Here is heard for the first time the unimpaired language of
dramatic passion intensified by an uninterrupted flow of expressive
melody. Here also the orchestra obtains that wide range of emotional
expression which enables it, like the chorus of the antique tragedy,
to discharge the dialogue of an overplus of lyrical elements without
weakening the intensity of the situation, which it accompanies like an
unceasing passionate undercurrent." In an opera like this, which is
intended to commingle dramatic action, intensity of verse, and the
power and charm of the music in one homogeneous whole, the reader will
at once observe the difficulty of doing much more than the telling of
its story, leaving the musical declamation and effects to be inferred
from the text. Even Wagner himself in the original title is careful to
designate the work "Ein Handlung" (an action).

The vorspiel to the drama is based upon a single motive, which is
worked up with consummate skill into various melodic forms, and
frequently appears throughout the work. It might well be termed the
motive of restless, irresistible passion. The drama opens on board a
ship in which the Cornish knight, Tristan, is bearing Isolde, the
unwilling Irish bride, to King Mark of Cornwall. As the vessel is
nearing the land, Isolde sends Brangoena to the Knight, who is also in
love with her, but holds himself aloof by reason of a blood-feud, and
orders him to appear at her side. His refusal turns Isolde's affection
to bitterness, and she resolves that he shall die, and that she will
share death with him. She once more calls Tristan, and tells him that
the time has come for him to make atonement for slaying her kinsman,
Morold.

She directs Brangoena to mix a death-potion and invites him to drink
with her, but without her knowledge Brangoena has prepared a
love-potion, which inflames their passion