He has understood, Tristan has understood, and started up ablaze, so beside himself with joy that after the great incredulous cry: "Isolde is coming! Isolde is near!" he struggles vainly for breath and words. Then his overflowing gratitude finds an immediate, a pertinent thing to do, and Kurwenal has all in a moment the reward of his long passionately-devoted service. The master in his madness of joy throws his arms around the servant to whom he owes the hope which in a moment has made him strong and well again. "My Kurwenal, you faithful friend, whose loyalty knows no wavering, how shall Tristan ever thank you? My shield and defence in battle and warfare, in pleasure and pain equally prompt at command,—whom I have hated, you have hated, whom I have cherished, you have cherished; when in all truth I served the good Mark, how were you true to him as gold! When I must betray the noble King, how willingly did you deceive him! Not your own, but wholly mine, you suffer with me when I suffer, but what I suffer—that you cannot suffer!" As before the excitement of his pain, now the excitement of his joy is gradually turning to delirium. "This dreadful longing which consumes me, this languishing fire which devours me, if I could describe it, if you could comprehend it, not here would you loiter but would haste to the watch-tower, with every sense astrain longingly would you reach out and spy toward the point where her sail shall appear, where, blown by the wind and urged on by the fire of love, Isolde comes steering to me!... There it comes!..." he points wildly, "There it comes, with brave speed!... See it wave, see it wave, the pennant at the mast!... The ship! The ship! It streaks along the reef! Do you not see it?... Kurwenal, do you not see it?" With watchful intensity he scans Kurwenal's face. Kurwenal hesitates, between the wish to humour him by going to the watch-tower, and the fear of leaving him, when the shepherd's pipe is heard again in the same plaintive tune, and Kurwenal has no heart to pretend. "No ship as yet on the sea!" he announces heavily. Tristan's excitement, as the notes spin out their thin music, whose message he seems to divine, gradually dies; the happy delusion fades; a deeper sadness than ever, of reaction, closes down upon him. The minor strains which now for a moment hold his flickering attention are full of associations for him, all sorrowful. The sound of them came wafted to him upon the breath of evening when as a child he was told the manner of his father's death; it came again, plaintive and more deeply plaintive, in the morning grey, when he learned his mother's fate. And in their day, he wanderingly reflects, "when leaving an unborn son he died; when she in dying gave me birth, the ancient air, full of yearning and foreboding, no doubt pierced its sorrowful way to them too,—the ancient air, which has asked me before this, and asks me again in this hour, to what possible end, what destiny, I was born into the world?... To what destiny?... The ancient song tells me over again: To spend myself in longing and to die!...
"No! No!" he in a moment corrects himself, and his misery surges back upon him in all its violence, "That is not what it says! Longing! Longing! To spend myself in longing, not in longing to find death! This longing which cannot die to the distant physician calls out for the peace of death!" Confused images crowd upon him of the beginning of this affliction. The voyage to Ireland, the wound of which he was dying, her healing of his wound—only to open it again; her offering him the poisoned cup which when he drank, hoping to be cured of ills forever, a fiery charm was upon him, dooming him never to die, but exist eternally in torture! We remember how in the fragrant summer night and the balmy presence of Isolde he blessed the magic draught which opened the region of all enchantment; but in this hour, parted from her, it seems, forever, the draught which keeps him vainly aching for her presence, which will not let him die apart from her, or find a little rest, which makes him a spectacle of torture for the Day to feed its eyes upon, the draught seems to him verily no blessing. They are the bitter dregs he is drinking now of the cup of wonder. "The dreadful draught," he terms it, and reaching, with the enumeration of his sufferings, the point of cursing it, he has the flashed intuition of a truth; by a poet's spring reaches a conclusion worthy of a philosopher: that he, he himself is responsible for the effect upon him of the drink. "The dreadful draught," he cries, "which devoted me to torment, I myself, I myself, I brewed it! From my father's anguish and my mother's woe, from the tears of love of all my life, from laughing and weeping, joys and hurts, I furnished the poisoned ingredients of the cup!" He had, more plainly, if we seize the sense of his raving, fed and fostered an inherited emotional nature which made him the cup's easy victim. And recognising it, he adds to his curse upon the dreadful cup, with all the strength of his tortured heart, his curse upon him who brewed it,—and exhausted with his own delirious violence drops back in a swoon. Kurwenal, who has vainly striven to calm his frenzy, now sees him with horror relapsed into deathlike stillness; he calls him, laments over him and over this fatal love, the world's loveliest madness, which rewards so ill those who follow its lure. "Are you then dead?" he weeps, "Do you still live?... Have you succumbed to the curse?" He listens almost hopelessly for his breathing, and starts up with a return of joy: "No! He lives! He rises! How softly his lips stir...."—"The ship!" Tristan murmurs, "Do you not see it yet?"—"The ship?... Certainly!" the poor nurse answers, with his determined cheerfulness, "It will arrive this very day.... It cannot delay much longer!"—"And upon it"—Tristan describes the vision which is calling back the light to his eyes—"upon it, Isolde. How she beckons, how graciously she drinks to our peace! Do you see her?... Do you not see her yet?... How sweetly, lovely and gentle, she comes wandering over the plains of the sea. On soft billows of joyous flowers she advances, luminous, toward the land. She smiles comfort to me and delicious rest, she brings me utmost relief.... Ah, Isolde, Isolde! How kind, how fair are you!... What, Kurwenal," he breaks off with that return to agitation toward which his fever by its law begins from the moment of returning consciousness to drive his poor brain, till, reaching a violence his strength cannot support, it plunges him back exhausted into unconsciousness, "What, Kurwenal, you do not see her? Away, to the watch-tower, dull-witted churl, that the sight may not escape you which is so plain to me! Do you not hear me?... To the tower! Quick, to the tower!... Are you there?... The ship! The ship! Isolde's ship! You must—must see it! The ship!... Is it possible," he cries despairingly, "that you do not see it yet?" He has been starting up from his bed, in his eagerness. Kurwenal has struggled with him to keep him down. While he hesitates as before between obedience and fear to leave his patient, the servant realises that the shepherd's pipe has changed its tune,—has changed it for a shrill, lively, tripping air. He listens with all his soul for a second, then with a shout of triumph dashes to the battlements and sends his eyes sweeping the sea. "Ha! The ship!... I see it nearing from the north!"—"Did I not know it?" Tristan exults like a child. "Did I not say so? Did I not say she lived and knit me still to life? From the world which for me contains her only, how should Isolde have departed?" His joy is new life poured into him; his agitation this time produces no exhaustion, he has strength for the moment to squander. "Hahei! Hahei!" shouts Kurwenal from his post, "How boldly it steers, how the sails strain in the wind! How it chases, how it flies!"—"The pennant?... The pennant?" Tristan holds his breath for the answer. "The bright pennant of joy floats gaily from the topmast!"—"Cheer! The pennant of joy!... In the bright light of day, Isolde coming to me! To me, Isolde!... Do you see her self?"—"The ship has disappeared behind the reef..." Tristan's joy drops like a shot bird. One seems to feel his heart stop. "The reef?..." he asks trembling, "Is there danger in it?... That is where the surf rages, the ships founder.... Who is at the helm?"—"The safest of sea-men."—"Could he betray me? Might he be a confederate of Melot's?"—"Trust him as you would myself!"—"But you, wretch, are a traitor too!... Do you see her again?"—"Not yet!"—"Lost!" wails Tristan—but at Kurwenal's shout in a moment more that the ship has cleared the rocks and is sailing up the safe channel into port, springs again to the peaks of joy and promises Kurwenal the bequest of all his worldly goods. And now Kurwenal from his outlook communicates that he sees Isolde,—she is waving,—the keel is in the harbour,—Isolde has sprung ashore. "Down!" Tristan orders wildly, "Down to the shore! Assist her! Assist my lady!"—"I will bring her up here in my arms—trust to them! But you, Tristan," the poor nurse stops on his hurried way down to enjoin, "stay reliably on the bed!"
Tristan, left alone, falls to tossing and writhing with impatience. His burning fever is confused to his sense with the heat of the sun, and this day of joy he calls the sunniest of all days. This tumult of the blood, this julibant urge to action, this immeasurable delight, this frenzy of joy, how, how to endure them prostrate upon the couch? Up, bravely up and away, where hearts are alive and throbbing! We can see his fever again working itself toward delirium. It reaches this time complete madness. With the proud cry: "Tristan, the hero, in jubilant strength has raised himself up from death!" he in fact lifts himself suddenly quite up. And then no doubt some reminder, at the violent motion, of his wound, suggests to his madness its next wild fancy, that a sort of glory is in a streaming wound, such as he bore while fighting Morold, that he will meet Isolde in the same manner, gloriously bleeding, not ignobly constrained by a bandage. And prompted by some obscure instinct perhaps to relieve a torture of which his flaming brain will not permit him duly to take account, he tears the wrappings from his wound, shouting with gladness, and bidding his blood now flow merrily forth. He jumps from the couch, he goes a few feet in swaying progress toward the castle-gate: She who shall heal the wound forever draws near like a hero, draws near bringing health, let the world fade away before his victorious haste!... The victorious haste has taken him a staggering step or two, when Isolde's voice comes borne to him, calling before she appears. "Tristan, Tristan! Beloved!" He stops short and listens, shocked out of the idea of what he was trying to do, losing his grasp on the present. "What?... Do I hear the light?" he falters, taken back by the spell of that voice to the old time, when never the light called to him, or never the beloved called to him out of the light, but ever and only out of the night. The suggestion of the darkness now gathering over his eyes is that the torch is going out,—her signal to him to come. "To her!" therefore he cries, "To her!" and is making such effort to hurry as one makes in a dream, when behold, there she is! There she comes flying to him through the castle-gate, breathless with her haste. He has strength enough still, in his transporting joy, to get as far as her arms; but, with the relief of being caught in them, all relaxes, he sinks to the earth. Frightened, she calls him. He turns his eyes upon her with the last of their long yearning, and softly breathes forth his life upon her name. He could not die before she came, but now at once it is grown sweet and easy.
Isolde cannot believe this which she seems to see. She falls on her knees beside him, beseeches, coaxes, reproaches him, and wrings her hands over his obdurate unresponse. "Just for one hour! Just for one hour, be awake to me still! Such long days of terror and yearning Isolde has endured for the sake of one hour to spend with you! Will Tristan defraud her, defraud Isolde of this single infinitely-short last earthly joy? The wound,—where? Let me heal it, that we may have the joyous night together!... Oh, do not die of the wound! Let the light of life go out for us clasped together!... Too late! Too late!... Hard-hearted!... Do you punish me so with ruthless sentence? Do you shut your heart to my complaint?... Only once... only once more!... Look, he wakes! Beloved!..." Consciousness mercifully forsakes her. She sinks senseless upon his body.
Kurwenal has been standing apart with eyes bent in dumb and rigid despair upon his master. A confused tumult of arms is heard. The shepherd climbs hurriedly over the parapet with the announcement: "A second ship!" Kurwenal starts from his trance of grief and rushes to look off. He breaks into curses, recognising Mark and Melot among the men just landed. His resolution is instantly taken. "Arms and stones! Help me! To the gate!" With the shepherd's help he is fastening and barricading the castle-gate, when Isolde's skipper hurries in with the cry: "Mark is behind me with men-of-arms and folk. Vain to attempt defence, we are overpowered!" Kurwenal does not pause in his preparations: "While I live, no one shall look in here! Take your post and help!" Brangaene's voice is heard, calling her mistress. Kurwenal's excitement, his rage of determination to keep the sight of those helpless embraced bodies sacred from profane eyes, shuts his reason to every sign. Brangaene's cry to him not to close the gate he takes to signify that she is in league with the enemy. Melot's voice, just outside: "Back, madman! Bar not the way!" calls forth a fierce laugh: "Hurrah for the day which gives me the chance to have at you!" The gate resists but a moment; Melot is first to break in. Kurwenal with a savage cry cuts him down. Brangaene is heard calling to him that he labours under a mistake; Mark calling upon him to desist from this insanity. He sees, understands but one thing, to keep out these enemies of Tristan's, defend the master to the last against this intrusion. He orders one of his party to throw back Brangaene, who is coming by the way of the wall; he hurls himself at the invaders now crowding in. In self-defence they draw arms upon the slashing madman. He extorts his death-wound as it were by force from one of them...
Painfully he drags himself along the earth, until he can touch his master's hand: "Tristan, dear lord! Chide not that the faithful one comes along too!" The last note about him as he expires is a fragment of the theme of determined cheerfulness, his pitiful sick-nurse encouragements to Tristan.
Brangaene has reached Isolde and is making frightened efforts to restore her. Mark stands regarding the still forms with profound emotion. Reproach is in his tone when he now speaks, as earlier, the gentle complainingness of one in all things blameless, who, doing all for the best, has met with unmerited suffering. "Dead! All dead!" he mourns, "My hero! My Tristan! Most tenderly-beloved friend! To-day again must you betray your friend, to-day when he comes to give you proof of highest faith. Awake! Awake at the voice of my sorrow, O faithless, faithfullest friend!"
Brangaene's ministrations have brought back a little life to Isolde. Brangaene holds her in her arms and labours to reassure her. "Hear me, sweetest lady, happy news let me report. Would you not trust Brangaene? For her blind fault she has made amends. When you disappeared, quickly she sought the King. No sooner had the secret of the potion been made known to him than in all haste he put to sea, to overtake you, to renounce you, to lead you himself to the friend!" Mark completes the revelation: "When I was brought to understand what before I could not grasp, how happy was I to find my friend free from blame! To wed you to the peerless hero with full sails I flew in your wake,—but how does ravaging misfortune overtake him who came bringing peace! I but made greater the harvest of death! Madness heaped the measure of disaster!"
Isolde has neither heard what they say, nor does she appear to recognise them. Half of her clearly has gone with Tristan, the rest is near taking wing, according to her word: "Where Tristan's house and home, there will Isolde abide." Her own swan-song takes us a little way with her into her Liebes-tod, her love-death. Her eyes, fixed in contemplation of his face, have the vision of it returning to life. She sees him re-arise, powerful and loving, growing in glory till he assumes transcendent splendour. "Do you see it, friends,—do you not see it?" she asks, of what shines so vividly before her that her face is transfigured as if with reflected light. And music is shed from this luminous ascending form.... "Am I alone to hear it?" she exclaims, it is so clear to her,—music wonderful and soft, which says everything, which gently reconciles one to all. It grows, it swells, it penetrates, uplifts.... And what is this enfolding her? Floods of soft air! Billows of perfume! They softly surge and murmur around her.... She is in wonder whether to inhale, or to listen, or drink and be immersed and yield up the breath sweetly amid perfumes.... Ah, yes, in the billowing surge, in the great harmony, in the breath of the spheres, to sink under, to drown, to be lost... that, that will be the supreme ecstasy!... As the mysterious experiences she describes absorb her soul, her body sinks softly upon Tristan's. Mark extends his hands in blessing over the dead.
And so the curtain fans on this wonderful and moving drama, and the thousands scatter in an exalted mood, impressed once more with the incomprehensible loveliness of love. The point of fascination of this work does not lie surely in any celebration of enviable joys, or sorrows nearly as enviable; it is not that it is spiritual, which would strengthen its appeal for some, neither that it is sensuous, which would make it alluring to others; it is that it breathes love,—love, indefinable but unmistakable, mysterious but absolute, understood of all, explainable by none, and of greater, or at least more universal, interest than any other emotion. Those equally fitted to enjoy all Wagner's operas show, it is observed, a predilection usually for Tristan and Isolde. If the pre-eminent beauty of the music accounts for this, the fact suggests none the less that Wagner could reach his utmost eloquence on the theme. It is as if the composer had wished for once a fair field to render all he felt and understood of love, and so had chosen a story in which it moves free from ordinary trammels and is permitted an intensity more prolonged, more fervid deeps, languors more abandoned, than love in the shackles of thought and will.