The tremor that passes over _Isolde_ loosens her grasp upon the goblet. It falls from her hand. She faces _Tristan_.
Is the weird light in their eyes the last upflare of passion before the final darkness? What does the music answer as it enfolds them in its wondrous harmonies? The Isolde Motive;--then what? Not the glassy stare of death; the Love Glance, like a swift shaft of light penetrating the gloom. The spell is broken. _Isolde_ sinks into _Tristan's_ embrace.
Voices! They hear them not. Sailors are shouting with joy that the voyage is over. Upon the lovers all sounds are lost, save their own short, quick interchange of phrases, in which the rapture of their passion, at last uncovered, finds speech. Music surges about them. But for _Brangäne_ they would be lost. It is she who parts them, as the hangings are thrust aside.
Knights, esquires, sailors crowd the deck. From a rocky height _King Marke's_ castle looks down upon the ship, now riding at anchor in the harbour. Peace and joy everywhere save in the lovers' breasts! _Isolde_ faints in _Tristan's_ arms. Yet it is a triumphant climax of the Isolde Motive that is heard above the jubilation of the ship-folk, as the act comes to a close.
Act II. This act also has an introduction, which together with the first scene between _Isolde_ and _Brangäne_, constitutes a wonderful mood picture in music. Even Wagner's bitterest critic, Edward Hanslick, of Vienna, was forced to compare it with the loveliest creations of Schubert, in which that composer steeps the senses in dreams of night and love.
And so, this introduction of the second act opens with a motive of peculiar significance. During the love scene in the previous act, _Tristan_ and _Isolde_ have inveighed against the day which jealously keeps them apart. They may meet only under the veil of darkness. Even then their joy is embittered by the thought that the blissful night will soon be succeeded by day. With them, therefore, the day stands for all that is inimical, night for all that is friendly. This simile is elaborated with considerable metaphysical subtlety, the lovers even reproaching the day with _Tristan's_ willingness to lead _Isolde_ to _King Marke_, _Tristan_ charging that in the broad light of the jealous day his duty to win _Isolde_ for his king stood forth so clearly as to overpower the passion for her which he had nurtured during the silent watches of the night. The phrase, therefore, which begins the act as with an agonized cry is the =Day Motive=.