sometimes under singular delusions with regard to his own works. Two
questions will occur to everybody at the beginning: 1. Has Isolde
started on the voyage to be the bride of King Marke with her own
consent? 2. Does she love Tristan before they drink the potion? Many
will answer these questions quite positively, the first in the
negative, the second in the affirmative. But the indications are very
shadowy indeed in the text, and the old story, the only source which
could throw any light on the question, tells the contrary in both
cases. Perhaps it will be contended that the constant presence of the
love-motive at decisive moments leaves no doubt that they love each
other from the beginning. To this I reply that it is not possible for
a musical strain by itself to prove anything. It can only call to mind
as a reminiscence something with which it has been definitely
connected before. We cannot do better than leave such questions to be
answered by each according to his own judgment. Like a skilful painter
Wagner has drawn secondary incidents with a shadowy outline in order
that the attention may be concentrated on the main features. The main
thing is to realize that they are inessential, but those who feel the
need of greater clearness may reconstruct for themselves. My own
belief is that their feelings at the beginning of the first act are a
very subtle and complex mixture, of which they could not then have
given a very clear account even to themselves, and that the poet has
therefore, with consummate artistic skill, purposely left them
unexplained.

The one decisive and all-important motive of the drama is the love of
the hero and the heroine in conflict with Tristan's honour; and on
this the whole force of the musical torrent is concentrated. In the
end love must prevail. Love, with Wagner, is the divine possession
which dominates every noble heart, but here it is incompatible with