Chapter 14

closed._) Isolde has heard the interview, and makes Brangäne repeat everything as it happened. Inexpressibly pathetic is the turn which she gives to the words of the song as she repeats the phrase of Brangäne:

_Is_. (_bitterly_). "How should he safely steer the ship to King Marke's land...." (_with sudden emphasis, quickly_) to hand him the _tribute_ which he brings from Ireland!

--the last sentence being to the refrain of the song.

Upward scale passages of the violins are suggestive of a sudden impulse, and there now begins (K.A. 25'1) a movement of great musical interest in which Isolde tells Brangäne of Tristan's previous visit to her as "Tantris," recounting how she discovered him by the splinter of the sword, the words: "_Er sah mir in die Augen,_" bringing the characteristic form of the love-motive with the falling seventh (1_b_). Brangäne cries out in astonishment at her own blindness. Isolde continues to relate "how a hero keeps his oaths": _Tantris_ returned as _Tristan_ to carry her off "for Cornwall's weary king" (K.A. 29'5):

_Is_. When Morold lived, who would have dared to offer us such an insult?... Woe, woe to me! Unwitting I brought all this shame on myself. Instead of wielding the avenging sword, helpless I let it fall, and now I serve my vassal!

Again rage overcomes her at the thought of Tristan's treachery. Her inflamed imagination conjures up his report of her to King Marke:

_Is_. "That were a prize indeed, my lord and uncle! how seems she to thee as a bride? The dainty Irish maid I'll bring. I know the ways and paths. One sign from thee to Ireland I'll fly; Isolde, she is yours! The adventure delights me!" Curse on the infamous villain! Curse on thy head! Vengeance! Death! Death to us both!

She subsides exhausted amidst a stormy tutti of the orchestra with the trombones _ff_.

_Br_. (_with impetuous tenderness_). Oh, sweet, dear, beloved, gracious, golden mistress! darling Isolde! hear me! come, rest thee here (_she gently draws her to the couch_).

The music presents no special difficulties in this scene. It is so complete in itself that, as has been truly remarked, it might well be performed as an instrumental piece without the voice. It would be impossible to follow here the endless subtleties of the working out, nor is it necessary, since they will reveal themselves to every musical hearer who is familiar with the methods of Beethoven. The whole movement is in E minor, and is built on a motive which has grown out of the love-motive by contrary movement, with a characteristic triplet accompaniment. Throughout it follows the expression of the words closely, using the previous motives, and is a model of Wagner's musical style in the more lyric portions. Wagner has remarked in one of his essays how Beethoven will sometimes break up his motives and, taking one fragment, often consisting of not more than two notes, develop it into something entirely new. The following scene is built on motives developed out of the last two notes of the love-motive, either with or without the falling seventh:

[Music]

It must here be noted how entirely Brangäne misunderstands the situation. Wagner has intentionally represented her as a complete contrast to Isolde, as one of those soft, pliable natures who are capable of the most tender self-sacrificing devotion, but are utterly wanting in judgment. Woman-like, she thinks that it is only a passing storm which she can lull with caressing words. Her scarcely veiled suggestion that, though Isolde may marry King Marke, she need not cease to love Tristan, shows the enormous gulf which separates her from her terrible mistress. She suggests administering the philtre which her mother has prepared for Marke to Tristan. The music, in which, so long as Brangäne is speaking, gaiety and tenderness are mingled, is permeated with the love-motive. Isolde thinks of her mother's spells with very different feelings; the music becomes more gloomy, and with the words, "Vengeance for treachery--rest for my heart in its need," the death-motive, with its solemn trombone-chords, betrays the thought in her mind. She orders Brangäne to bring the casket. Brangäne obeys, and innocently recounts all the wonderful remedies which it contains:

_Br_. For woe and wounds is balsam; for evil poisons antidotes. The best of all I hold it here (_holding up the love-potion_).

_Is_. Thou errst. I know it better (_seizing the black bottle containing the death-drink and holding it aloft_). _This_ is the drink I need!

A motive already heard in the Prelude (bar 29, bassoons and bass clarinet) now becomes very prominent in the brass:

[Music]

The falling seventh here carries an air of profound gloom appropriate to the deadly purpose of Isolde.

At this moment a diversion occurs outside. The ship is nearing the port, and the crew are heard taking in the sails preparatory to anchoring. Kurwenal enters abruptly.