THE ROMANCE OF TRISTAN
Of course Wagner came up with the most famous and definitive version of the story of Tristan and Isolde’s doomed love–the one in which Isolde sings for more than 20 minutes before death transports her to the Valhalla for postsuicidal couples. But Wagner was by no means the first to capitalize on the tale’s dramatic and commercial potential. In the 12th and 13th centuries, poets and musicians on both sides of the English Channel padded the Celtic legend into long-running serials that gripped the popular imagination. A fortnight ago the Newberry Consort opened its season with what amounted to the greatest hits from this courtly medieval soap opera.
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Many variations on the legend flourished in the late Middle Ages, most of them derived from English and French prose and poetry. By 1250 the most popular and elaborate version was the prose Romance of Tristan, which contained numerous subplots and walk-ons straight out of King Arthur’s court. A stripped-down version might be told this way: Tristan, a Brittany knight, escorts the Irish princess Isolde to Cornwall, where she is to marry his uncle King Mark. En route Isolde discovers that Tristan killed her childhood sweetheart. In revenge, she concocts a poison to be taken by both of them, but unbeknownst to her, her maid substitutes a love potion for the poison. After drinking the elixir, Tristan and Isolde realize they’ve been in love all along and proceed to consummate their relationship. Once in Cornwall they continue their affair–until King Mark is convinced of their betrayal. Tristan is banished to Brittany. Despondent, he once again embarks on knightly adventures and is fatally wounded. On his deathbed he sends for Isolde, but she arrives too late. Lying next to his body, she chooses to die too–and in death they are united forvever.
