s beyond power of restraint.
Oblivious of the landing, the approach of the royal train, and all
that is going on about them, they remain folded in mutual embrace.

The second act opens in Cornwall, in a garden which leads to Isolde's
chamber, she being already wedded to King Mark. With Brangoena she is
waiting for Tristan. The King goes out upon a night hunt, and no
sooner has he disappeared than Isolde gives the signal for his
approach, while Brangoena goes to her station to watch. The second
scene is a most elaborate love-duet between the guilty pair, the two
voices at first joining ("Bist du mein? Hab'ich dich wieder?"). A
passionate dialogue ensues, and then the two voices join again ("O
sink' hernieder, Nacht der Liebe"). After a brief dialogue Brangoena's
warning voice is heard. Absorbed in each other, they pay no heed, and
once more they join in the very ecstasy of passion, so far as it can
be given musical form, in the finale of the duet, "O suesse Nacht!
Ew'ge Nacht! Hehr erhabne Liebes-Nacht." The treachery of Sir Melot,
Tristan's pretended friend, betrays the lovers to the King. Tristan
offers no explanations, but touched by the King's bitter reproaches
provokes Sir Melot to combat and allows himself to be mortally
wounded.

The third act opens in Brittany, whither Kurwenal, Tristan's faithful
henchman, has taken him. A shepherd lad watches from a neighboring
height to announce the appearance of a vessel, for Kurwenal has sent
for Isolde to heal his master's wound. At last the stirring strains of
the shepherd's pipe signal her coming. In his delirious joy Tristan
tears the bandages from his wounds, and has only strength enough left
to call Isolde by name and die in her arms. Now a second vessel is
seen approaching, bearing King Mark and his men. Thinking that his
design is hostile, Kurwenal attempts to defend the castle, but is soon
forced to yield, and dies at the feet of his master. The King exclaims
against his rashness, for since he had heard Brangoena's story of the
love-potion he had come to give his consent to the union of the
lovers. Isolde, transfigured with grief, sings her last farewell to
her lover ("Mild und leise wie er laechelt"), and expires on his body.
The dying song is one of great beauty and pathos, and sadly recalls
the passion of the duet in the second act, as Isolde's mournful
strains are accompanied in the orchestra by the sweetly melodious
motives which had been heard in it, the int