Tristan And Iseult Quotes

Fold your arms round me close and strain me so that our hearts may break and our souls go free at last. Take me to that happy place of which you told me long ago. The fields whence none return, but where great singers sing their songs forever.

With good reason, love's messengers, Eros and Kama, are armed with bows and long-distance arrows. No being, god or mortal, can choose love. Love comes despite ourselves; and then, if we have not already done so, we have the task of becoming our selves so we may welcome love.

...for most men are unaware that what is in the power of magicians to accomplish, that the heart can also accomplish by dint of love and bravery.

Apart the lovers could neither live nor die, for it was life and death together;

they greet those who are cast down, and those in heart, those troubled adn those filled with desire, those who are overjoyed and those disconsolate, all lovers. may all herein find strength against inconstancy, against unfairness and despite and loss and pain and all the bitterness of loving.

Here is one with a gift for loving and a gift for hating, and when he hates, God help the man who earns his hatred.

Little son, I have longed a while to see you, and now I see you the fairest thing ever a woman bore. In sadness came I hither, in sadness did I bring forth, and in sadness has your first feast day gone. And as by sadness you came into the world, your name shall be called Tristan; that is the child of sadness.” After she had said these words she kissed him, and immediately when she had kissed him she died.

The past gathered out of the darkness where it stayed, and the dead raised themselves to live before him; and the past and the dead flowed into the present among the alive, so that he had for an intense instant a vision of denseness into which he was compacted and from which he could not escape, and had no wish to escape. Tristan, Iseult the fair, walked before him; Paolo and Francesca whirled in the glowing dark; Helen and bright Paris, their faces bitter with consequence, rose from the gloom. And he was with them in a way that he could never be with his fellows who went from class to class.

Two days she watched them, seeing them refuse all food or comfort and seeking each other as blind men seek, wretched apart and together more wretched still, for then they trembled each for the first avowal.

She believed in public service; she felt she had to roll up her sleeves and do something useful for the war effort. She organized a Comfort Circle, which collected money through rummage sales. This was spent on small boxes containing tobacco and candies, which were sent off to the trenches. She threw open Avilion for these functions, which (said Reenie) was hard on the floors. In addition to the rummage sales, every Tuesday afternoon her group knitted for the troops, in the drawing room -- washcloths for the beginners, scarves for the intermediates, balaclavas and gloves for the experts. Soon another battalion of recruits was added, on Thursdays -- older, less literate women from south of the Jogues who could knit in their sleep. These made baby garments for the Armenians, said to be starving, and for something called Overseas Refugees. After two hours of knitting, a frugal tea was served in the dining room, with Tristan and Iseult looking wanly down.

But it seemed to Tristan as though an ardent briar, sharp-thorned but with flower most sweet smelling drave roots into his blood and laced the lovely body of Iseult all round about it and bound it to his own and to his every though and desire.

Nor will I live longer so, for though I will not say one word of penance for my love, which is there and remains forever, yet from now on I will be separate from him.

And out of Tristan's heart there grew a hazel tree, and out of Iseult's a honeysuckle, and they arched together and clung and intertwined so that they could never be separated anymore.

Not Brangien who was faithful, not Brangien, but themselves had these lovers to fear, for hearts so stricken will lose their vigilance. Love pressed them hard, as thirst presses the dying stag to the stream; love dropped upon them from high heaven, as a hawk slipped after long hunger falls right upon the bird. And love will not be hidden.

And truly he did well to trust in God, for though the felons mocked him when he said he had loved loyally, yet I call you to witness, my lords who read this, and who know of the philtre drunk upon the high seas, and who, understand whether his love were disloyalty indeed. For men see this and that outward thing, but God alone the heart, and in the heart alone is crime and the sole final judge is God.

on the Queen’s finger was that ring of gold with emeralds set therein, which Mark had given her on her bridal day; but her hand was so wasted that the ring hardly held.

O, my God! I must lose you, friend!

Only one of us will need a boat when this combat is ended

When King Mark heard of the death of these two lovers, he crossed the sea and came into Brittany; and he had two coffins hewn, for Tristan and Iseult, one of chalcedony for Iseult, and one of beryl for Tristan. And he took their beloved bodies away with him upon his ship to Tintagel, and by a chantry to the left and right of the apse he had their tombs built round. But in one night there sprang from the tomb of Tristan a green leafy briar, strong in branches and in the scent of its flowers. It climbed the chantry and fell to root again by Iseult's tomb. Thrice did the peasants cut it down, but thrice it grew again as flowered and as strong. They told the marvel to King Mark, and he forbade them to cut the briar any more.

— Noi am pierdut lumea și lumea pe noi, nu-i așa Tristan, iubitule? — Iubito, când te am cu mine, ce să mai îmi trebuiască? Dacă lumea toată ar fi într-acest loc cu noi, eu nu te-aș vedea decât pe tine.

Subt copaci, fără de a rosti cuvânt, el o strânse la pieptul său; brațele li se împletiră în jurul trupurilor și până în zori, ca și cum ar fi fost cusuți cu ațe tari, nu-și desfăcură strânsoarea. În pofida regelui și a străjerilor, iubiții se bucurară de dragostea lor.

Nu de Brangien cea credincioasă, ci de ei însuși au a se teme iubiții. Însă cum să stea de veghe inimile lor bete de dragoste? Iubirea îi îmboldește, așa cum setea îl repede pe cerb către râu, la ananghie, ori tot așa precum, după o lungă înfometare, șoimul slobozit se lasă pe pradă. Vai! dragostea nu se poate tănui.

Tristan contrefit sa voix et répondit : « Aux noces de l'abbé du Mont, qui est de mes amis. Il a épousé une abbesse, une grosse dame voilée. De Besançon jusqu'au Mont tous les prêtres, abbés, moines et clercs ordonnés ont été mandés à ces épousailles : et tous sur la lande, portant bâtons et crosses, jouent et dansent à l'ombre des grands arbres. Mais je les ai quittés pour venir ici : car je dois aujourd'hui servir à la table du roi. »

Tristan held up his arms to the Princess as she came out over the side, and carried her up through the shallows so that when he set her down on the white wave pattered sand, not even the soles of her feet were wet. Now this was the first time that ever they had touched each other, save for the times when the Princess had tended Tristan's wounds, and that was a different kind of touching; and as he set her down, their hands came together, as though they did not want it to be so quickly over. And standing hand in hand, they looked at each other, and for the first time Tristan saw that the Princess's eyes were deeply blue, the colour of wild wood-columbines; and she saw that his were as grey as the restless water out beyond the headland. And they were so close that each saw their own reflection standing in the other one's eyes; and in that moment it was as though something of Iseult entered into Tristan and something of Tristan into Iseult, that could never be called back again for as long as they lived.

In this sense, we can render the false meaning of catharsis which occurs in pornography with a different meaning than the catharsis we associate with Aristotle's definition of tragedy. For in the tragedy, we weep, grieve and feel pity. We are brought to feeling, we experience both meaning and sensation at the same time, tremble in our bodies and our souls. Thus we weep over the death of Iphigenia, of Tristan and Iseult, of Madame Bovary. In experiencing these feelings, we have tapped a part of ourselves which had perhaps been quiet for some time. Which indeed, in this stillness, we were not certain was even there. Or had even forgotten. And thus, when we weep at this tragic playing out before our eyes of a drama which touches our hearts, a part of ourselves we had left in shadow comes back to us and is named and is lived. But pornographic catharsis moves from altogether different needs. For, we know, one does not weep over the death of Justine. One does not feel at all. Rather, one experiences only sensation and mastery. If there is a vulnerable part of oneself that would weep, this vulnerability is projected onto the body of a woman who is punished, and is destroyed there. And so we cease, in this projection, to recognize this vulnerability as a part of ourselves. Rather than reclaim a feeling, or own a part of ourselves once more, we disown ourselves. What pornography calls "catharsis" leads to denial and not to knowledge.

That this exceptionally scholarly man whose judgments, always rich and sensitive, though sometimes austere, should have embarked on an intensely romantic retelling of the old Cornish legend of that famous pair of tragic lovers, Tristan and Queen Iseult, is intriguing in itself. But what makes it even more fascinating is that Daphne du Maurier, asked by “Q” ’s daughter long after her father’s death to finish this novel that he had set aside “near the end of a chapter, halfway through,” did so in such a skillful fashion that it is impossible to guess with any certainty the exact point at which she began to write. She says, in a modest foreword, that she “could not imitate ‘Q’’s style… that would have been robbing the dead,” but she had known him when she was a child, remembered him as a genial host at many a Sunday supper, and “by thinking back to conversations long forgotten” she could recapture something of the man himself and trust herself to “fall into his mood.

This, whether we admit it or not, is what romantic love is. In Tristan and Iseult the egotism, the use of each other to create the passion for its own sake, is so blatant, so naive, and so childlike that it is unmistakable. But our own versions of this are scarcely more subtle. It simply never enters our romantic heads that there is something strange about seeking a so-called “love” for the sake of my fulfillment, my thrills, my dreams coming true, my fantasy, my “need to be loved,” my ideal of the perfect love, my security, my entertainment.

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To develop “naturally,” this kind of love requires secrecy and obstruction. The presence of an obstacle to the consummation of romantic love is so essential that in the archetypal courtly romance of Tristan and Iseult, when Tristan and Iseult (who is married to Tristan’s lord, King Mark) finally flee to the wilderness for three years after a risky affair under the King’s nose at court, they live together chastely. When the barrier is removed and romance is finally attainable, it atrophies. Later, romance returns when the lovers are again separated. This strange paradox, in which lovers risk life and limb in order to consummate an affair only to witness the affair fizzle when all obstructions are removed, is not unusual in court love poetry. Unfortunately, the same paradox has become common in modern marriage: passion thrives when love is young, and it especially swells in the face of societal obstruction, rival courters, or external hardships. When parents are disapproving, or there is a social taboo, passionate amor binds the lovers together in direct proportion to the difficulty of conducting the affair. However, when the lovers are together day-after-day and night-after-night, the passion wanes and boredom replaces the professed “love.