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. Even the description of the boat in which he came as
"klein und arm" is accounted for by Gottfried (7424 seq.). Tristan's
motives for insisting upon Marke's marriage are, as we gather from
casual indications, the same as those set forth in Gottfried. He has
been entangled in political intrigues. Utterly free himself from any
sordid or selfish motive, he insists upon Marke's marriage as the only
possible means of obtaining tranquillity for his distracted country,
whereas in Gottfried he acts under fear of assassination.

[Footnote 27: I quote from the German translation of Karl Pannier in
Reclam, which is the most recent.]




CHAPTER VII

WAGNER'S CONCEPTION OF THE TRISTAN MYTHOS


Wagner's treatment of his material is worth a closer consideration
because it is characteristic of his conception of the drama. Like
every poet of the first order he regards it exclusively from the moral
standpoint. In a former chapter I drew a distinction between the drama
which depends upon the play of human actions for their own sakes and