49 pages • 1 hour read
Gottfried von StrassburgA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The love potion that precipitates Tristan and Isolde’s affair is a symbol of both fate and The Duality of Love. From the moment the pair drink the potion, their destiny is determined: “It was their lasting sorrow, their never-ending anguish, of which at last they died!” (194-95). Though both Tristan and Isolde attempt to resist their attraction, Gottfried’s commentary frames their efforts as futile from the start; not only their love for one another but all the actions and events that stem from it are apparently out of their control.
Also significant is the kind of love that the potion inspires—alternately agonizing and sublime, but always all-encompassing. Like many portrayals of courtly love, Gottfried’s emphasizes love’s paradoxical nature: “They were burdened by the pleasuring malady that works such miracles as changing honey to gall, turning sweetness sour, setting fire to moisture, converting balm to pain” (198). The potion itself embodies these dualities, as it tastes like wine but proves as deadly as poison (a word etymologically related to “potion”). Throughout the rest of the story, Gottfried uses imagery related to drinking to describe both the pains and pleasures of love, underscoring the potion’s symbolism. For example, when Tristan and Isolde first admit their feelings for one another, Gottfried describes them as “pour[ing] and quaff[ing] the sweetness that welled up from their hearts” (200), while he remarks of Tristan’s exile that “his life was poisoned by that woman alone” (286).
Characters often adopt disguises to circumvent behavioral prohibitions or to evade danger. The first instance of a disguise involves the former: Blancheflor dresses as a beggar woman to gain entrance into Rivalin’s room in order to profess her love. It would be improper for her to otherwise visit him. Later, Tristan pretends to be a merchant’s son when he arrives in Cornwall, and he pretends to be Tantris the minstrel upon his arrival in Ireland. In these instances, the point is to avoid danger and to evade suspicion.
The regular employment of the disguise motif makes the story as much an adventure as it is a tragedy; characters who pretend to be other people create a level of suspense, lest their real identities be discovered. These disguises also create a sense of excitement in that the hero takes on a new identity and must create his fortunes anew.
Travel presents an opportunity for reinvention and also a means to evade danger. The story begins with Rivalin visiting Mark’s kingdom to learn its customs, and the story ends with Isolde fleeing Mark’s kingdom to try to heal Tristan in Parmenie. In between these two journeys, travel appears constantly as a motif.
While most of the story takes place either in Parmenie, Mark’s kingdoms of Cornwall and England, or in Ireland, Tristan also fights in a war in Germany and spends considerable time in Arundel and Swales. A new place signals a new adventure, new prizes to win or foes to conquer, and winning fame amid new company. Tristan kills Morold in Cornwall, the dragon in Ireland, and the giant Urgan in Swales, and he triumphs in several other battles elsewhere. Wherever he travels Tristan must prove himself anew as a knight and as a courtier. Travel is a further element that modifies the story’s tragic tone, giving it a sense of adventure by constantly introducing new places, new characters, and new difficulties.
While travel is presented as an opportunity for reinvention, it also often occurs as a necessity. Tristan is forced to go to Ireland to save himself. He is dropped off by pirates in Cornwall after being kidnapped, and he goes to Germany and Arundel after being exiled from Mark’s kingdom. That even a character as mobile as Tristan often makes his journeys under duress develops the theme of Tragic Fate Versus Free Will.