Tristan and Isolde is a very known Story in Europe. Especially in Germany. Thanks to Richard Wagners Opera with the same name, it became so popular King Ludwig II. of Bayern commissioned a Tristan and Isolde Painting for his Neuschwanstein Castle! It's painted by August Spieß (1881) and in his bedroom!
Here you can see the Painting in the Bedroom and how big it actually is. On the full Painting you can see Brangaine in the Background as well, what a sight to behold!
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There is so much that I want to say and share about the Tristan legend (long ago I once wrote a dissertation specifically on the love potion and various love magics in arthurian legend). What is most intriguing about it is how it's a narrative device that allows for such contradictory knightly behaviour.
Moreover, there are several variations in how the potion behaves, throwing even more complication into the mix. In Beroul's The Romance of Tristan, the oldest version that is believed to be closest to whatever an original tale might look like, the potion has a time limit, and wears off in the middle of the lovers' affair. In other versions, such as Thomas of Britain's Tristan, the love potion lasts until the end of the lovers' lifetimes.
In Le Morte D'Arthur, Malory works closely from the poem Sir Tristrem, as well as the Prose Tristan – a huge source which in turn takes many cues from Beroul and Thomas of Britain. Malory's lovers are in it for the long haul, "they loued eyther other so wel that neuer theyr loue departed for wele neyther for wo / And thus it happed the loue fyrste betwixe sire Tristram and la beale Isoud / the whiche loue neuer departed the dayes of their lyf | they loved either other so well that never their love departed for weal neither for woe. And thus it happed the love first betwixt Sir Tristram and La Beale Isoud, the which love never departed the days of their life."
But this love is fraught by social impropriety, the fact that they commit adultery is automatically a sin. However, if we view the love potion as the reason for their infidelity and excuse their moral failures, does that absolve their actions of any wrongdoing? And even if so, is manufactured passion truly the ideal of chivalric love that we should admire?
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My personal approach to writing Isolde and Tristan’s relationship is that the love potion only takes effect sporadically or when they’re in close proximity. When they’re not under the influence they hate each other.
A rumor spread in the castle that Tristan has a secret lover. Isolde finds the situation laughable, while Brangaine is contemplating an early retirement.
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so in my arthurian literature class a few years ago, we read gottfried von strassburg’s tristan and isolde, and I can’t stop thinking about how FUNNY it is
a list of dumb things that happen in gottfried von strassburg’s tristan and isolde:
tristan manages to sneak into ireland calling himself "tantris," and somehow fools isolde and the queen (also named isolde; there are three people named isolde in the whole book) and the only way isolde finds out it's him is because she's able to match his sword with the wound in her uncle's skull, and not, you know, because tristan just switched the two syllables in his name around. she spends a whole paragraph trying to figure this out
tristan can speak five different languages and the best thing he can come up with is fucking tantris
isolde and her mother are supposed to be like super advanced healers but they somehow can’t immediately figure this out
one of tristan’s skills is being a really good liar. but no we got TANTRIS. do you see why I’m mad about this
this whole story started in the first place because tristan got abducted by norwegian pirates while playing chess on a boat, and he doesn't even notice he's been kidnapped at first
a whole two pages on how to skin a deer carcass, as well as extensive etymology for obscure hunting terms
tristan saying he's not good at playing the harp, only for his epic harp playing to be described in lengthy detail
tristan being depressed until he meets his friend's dog, then wanting to get the dog for isolde, then going on a huge side quest where he fights a giant so his friend will give him the dog
the whole love triangle where tristan has to choose between isolde and someone else also named isolde with basically the same personality
in the wagner opera adaptation, brangane deliberately switches the love and death potions. meanwhile in gottfried’s source text, she literally just forgets she was supposed to deliver a love potion so isolde and mark could drink it, mistakes it for wine, and gives it to tristan and isolde
tristan and isolde spend the entire journey to cornwall having sex
the whole sideplot where marjadoc and melot are trying to catch tristan and isolde having an affair so they dump flour all over the ground
there’s a dragon for some reason
in conclusion, you can guess why I was so disappointed when I watched the wagner opera
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