In Tristan and Isolde, this release from life is achieved by the self-sacrificial love of a woman who is prepared to share her lover’s non-existence and unite with him in death.

在瓦格纳歌剧“特里斯坦与伊索尔德”中，生命的的释放是由一个女人自我牺牲的爱来完成的，她准备好分享她所爱之人的虚无，并与他在死亡中结合。

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As a teenager he played Wagner's Tristan und Isolde in a piano duet; and he also played it when in a grip of madness in January 1889 in Turin.

他十几岁的时候就会弹奏瓦格纳的歌剧“特里斯坦与伊索尔德”中的钢琴二重奏，甚至在他癫狂于1889年1月的都灵之时，也仍然会弹奏一曲。

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And the words the lovers' use in their love duet is no more Tristan no more Isolde, that old persons don't exist is this new merged unity they have become.

而情人在他们的爱情二重唱中使用的言语，不是特里斯坦也不是伊索尔德，老人，在新成为的结合中并不存在。

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We all know about "Liebestod" in "Tristan and Isolde," the moments of death in literature which obviously are sexually charged.

我们都知道李斯特创作的《崔斯坦和伊索德》中“,文学中的死亡瞬间由性管控。

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Because, before a Beethoven symphony, Mozart's ''Don Giovanni'' or Wagner's ''Tristan and Isolde, '' all human beings are equal.

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