Chapter II: "tristan Und Isolde."

The Legend in Outline.--A Subject that has Fascinated
Poets for over Six Centuries in Spite of Changes in
Moral Feeling.--Wagner's Variations from the Versions
of Gottfried von Strassburg, Matthew Arnold, Tennyson,
and Swinburne.--The Prelude.--Absence of Scenic
Music.--Fundamental Musical Thought of the Drama.--Its
Duality in Unity.--Longing and Suffering.--Wagner's
Exposition.--Use of the Sailor's Song and the
Sea Music.--Suffering and Chromatic Descent.--The
Love Glance and its Symbol.--Fatality and the Interval
of the Seventh.--The Heroic Phrase of Tristan.--The
Death Phrase.--Music as an Expounder of Hidden
Meanings.--The Horn Music.--The Signal.--The Love
Duet.--Dramatic Feeling Supplied by Music.--King
Marke.--Philosophy of the Drama.--Musical Mood
Pictures.--A Dying Man: an Empty Sea.--Tristan's
Longing and Death.--Swan Song of Isolde.--Passions
Purified by Music.--Mediæval Love.--Effect of Wagner's
Variations on the Morals of the Poem.--Excision
of the Second Iseult.--The Philter not a Love-potion.--Wagner's
Pure Humanity Freed from the Bonds of
Conventionality Pages 37-71