Analyzing the translations of the French version of Tristan and Iseult, one can see that there were two main versions from the French poets of the twentieth century: Beroul and Thomas. These two versions differ in their presentation, style and in some of the scenes, though the theme and the plot were still the same. “Berouls romance was considered to be the uncourtly version, because it was less refined, and some of the scenes and the behaviors of the characters were brutal at times…On the other hand, Thomas wrote courtly version of the romance. Thomas was much more interested in the inner thoughts of the characters” (Joe, 1999). It makes clear the fact that there are differences between these two French versions.
The reader/audience can feel the driving force which is yearning for union beyond the restrictions of time, physical passion and their own separate material existence while going through Tristan and Isolde. Through their death, lovers achieved the realization of divine love. In other words, through the world of divine love they receive the status of immortality. Death is presented as a great opportunity to reach the state of oneness forever. Iseult embraces death with full passion and she joins her lover in a mystical background. In the old stories the lovers were buried on the side of a chapel and believed to be regained life with self realization. Wagner, in his opera, demonstrates the events with necessary improvisations and as a result reader can see the historical elements of Western ideologies and principles about love and death is presented clearly in Tristan and Iseult.
Wagner’s work underlines the fact that the story discusses serious sociological and psychological layers. The human relation (love between Tristan and Iseult) explores the elements of a great symphonic texture. Merging of the lovers is a perfect example of the