sed therefore to arrange the much simpler Tristan
material within the compass of ordinary stage representation.
Curiously enough he received just then an offer to compose an opera
for the excellent Italian troupe in Rio Janeiro. He thought, however,
of Strasbourg, and it was only through Edward Devrient, who visited
him in the summer of 1857, that he destined the work for Carlsruhe
where Grand Duke Frederick and his wife, Princess Louisa of Prussia,
displayed a growing interest in art. It was also the home of an
excellent singer, Ludwig Schnorr from Carolsfeld, of whom Tichatschek
had already informed him and who was to be the first to assume the
role of Tristan.

"Tristan" belongs, like "Siegfried" and "Parcival," to the circle
of the sun-heroes of the primeval myth. He also is forced to use
deception and is compelled to deliver his own bride to his friend,
then to discern his danger and voluntarily disappear. Thus Wagner
remained within his poetic sphere. But while in "Siegfried" the
Nibelungen-myth in its historic relations had to be maintained and
only the sudden destruction of the hero through the vengeance of the
woman who sacrifices herself with him, could be used in "Tristan," on
the other hand the main subject lies in the torture of love. The two
lovers become conscious of their mutual love through the drinking of
the love-potion that dooms them to death. It is a death preferred to
life without each other. What in "Siegfried" is but a moment of
decisive vehemence appears here in psychological action of endless
variety, wherein Wagner has woven the whole tragic nature of
our existence, which he had learned from the great philosopher
Schopenhauer, to esteem as a "blessing." There was however in this
similarity, and at the same time difference, a peculiar charm which
invested the work. It is supplementary to the Nibelungen-material
which in reality embraces human life in all its relations.

It is wonderful how readily he found the means to unfold before our
eyes the revelation which involved the death of the two lovers.
Commissioned by his uncle, King Marke, Tristan has conquered the
tributary Celts and slain their leader, Morold, in battle. Isolde,
the betrothed of the latter, to whose care the wounded Tristan is
consigned, is completely captivated when at last her eyes meet his,
but unconscious of this he wooes the beautiful woman for the "wearied
King" and conducts her to him. Inwardly aroused by this and the