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- Tristan And Isolde
- Tristan & Isolde is a 2006 epic romantic drama film directed by Kevin Reynolds and written by Dean Georgaris based on the medieval romantic legend of Tristan and Isolde.Produced by Ridley Scott (who had been working on an adaptation since the mid-1970s) and Tony Scott, the film stars James Franco and Sophia Myles, alongside a supporting cast featuring Rufus Sewell, Mark Strong, and Henry Cavill.
- Tristan & Isolde is a 2006 epic romantic drama film directed by Kevin Reynolds and written by Dean Georgaris based on the medieval romantic legend of Tristan and Isolde.Produced by Ridley Scott (who had been working on an adaptation since the mid-1970s) and Tony Scott, the film stars James Franco and Sophia Myles, alongside a supporting cast featuring Rufus Sewell, Mark Strong, and Henry Cavill.
- Visit our Tristan Canada website and discover our clothing collections for men and women. Our quality apparel is sure to please. Visit our online shop today!
- Directed by Kevin Reynolds. With James Franco, Sophia Myles, Rufus Sewell, David O'Hara. An affair between the second in line to Britain's throne and the princess of the feuding Irish spells doom for the young lovers.
Directed by
Apr 14, 2008 Zubin Mehta conducting Bayerische Staatsoper Bayerisches Staatsorchester (National Theatre Munich).
Kevin Reynolds |
Writing Credits(WGA)
Dean Georgaris | .. | (written by) |
Cast (in credits order) verified as complete
James Franco | .. | Tristan |
Sophia Myles | .. | Isolde |
Rufus Sewell | .. | Marke |
David O'Hara | .. | Donnchadh (as David Patrick O'Hara) |
Mark Strong | .. | Wictred |
Henry Cavill | .. | Melot |
Bronagh Gallagher | .. | Bragnae |
Ronan Vibert | .. | Bodkin |
Lucy Russell | .. | Edyth |
JB Blanc | .. | Leon |
Graham Mullins | .. | Morholt |
Leo Gregory | .. | Simon |
Dexter Fletcher | .. | Orick |
Richard Dillane | .. | Aragon |
Hans Martin Stier | .. | Kurseval (as Hans Martin-Stier) |
Thomas Morris | .. | Kaye |
Jamie Thomas King | .. | Anwick (as Jamie King) |
Wolfgang Müller | .. | Rothgar (as Wolfgang Muller) |
Cheyenne Rushing | .. | Lady Serafine |
Barbora Kodetová | .. | Lady Marke (as Barbara Kodetova) |
Isobel Moynihan | .. | Young Isolde |
Thomas Brodie-Sangster | .. | Young Tristan (as Thomas Sangster) |
Gordon Truefitt | .. | Tournament Judge |
Myles Taylor | .. | Young Melot |
Jack Montgomery | .. | Young Simon |
Marek Vasut | .. | Luther |
David Fisher | .. | Irish Soldier |
Bronwen Davies | .. | Lady Aragon |
Kevin Flood | .. | Funeral Priest |
Philip O'Sullivan | .. | Paddreggh |
Nevan Finegan | .. | Tournament Crier |
Jón Ólafsson | .. | Coronation Priest (as Jon Olafsson) |
Todd Kramer | .. | Widseth |
Winter Ave Zoli | .. | Widseth's Sister |
Miroslav Simunek | .. | Pict Guard (as Mirek Simunek) |
Produced by
Moshe Diamant | .. | producer |
Lisa Ellzey | .. | producer |
Giannina Facio | .. | producer |
Jan Fantl | .. | co-producer |
James Flynn | .. | co-producer |
Christian Frohn | .. | associate producer |
John Hardy | .. | executive producer |
Frank Hübner | .. | executive producer |
Anne Lai | .. | co-producer |
Jim Lemley | .. | executive producer |
Jennifer Leshnick | .. | associate producer |
David Minkowski | .. | associate producer |
Morgan O'Sullivan | .. | co-producer |
Elie Samaha | .. | producer |
Ridley Scott | .. | executive producer |
Tony Scott | .. | executive producer |
Matthew Stillman | .. | executive producer |
Music by
Anne Dudley |
Cinematography by
Arthur Reinhart |
Film Editing by
Peter Boyle |
Casting By
Kate Dowd |
Production Design by
Mark Geraghty |
Set Decoration by
Johnny Byrne |
Costume Design by
Maurizio Millenotti |
Makeup Department
Carlo Barucci | .. | hairdresser |
Stefano Ceccarelli | .. | hair stylist (as Stefano Cellarelli) |
Massimiliano Duranti | .. | hairdresser |
Jirí Farkas | .. | hair stylist: Czech Republic / makeup artist: Czech Republic |
Mirella Ginnoto | .. | key hair stylist |
Lorraine Glynn | .. | assistant hair stylist |
Veronika Kostrhounova | .. | makeup artist: second unit |
Alena Mareckova | .. | hair stylist: Czech Republic / makeup artist: Czech Republic |
Linda Melazzo | .. | assistant makeup artist |
Mario Michisanti | .. | hair stylist |
Iván Pohárnok | .. | special makeup effects artist |
Adéla Robová | .. | hair stylist: Czech Republic / makeup artist: Czech Republic |
Manlio Rocchetti | .. | key makeup artist |
Jaroslav Samal | .. | hair stylist: Czech Republic / makeup artist: Czech Republic |
Production Management
John Brady | .. | unit manager |
Scott E. Chester | .. | production supervisor: second unit |
Nicole Haeussermann | .. | production supervisor: Kolin S.A. |
Jiri Husak | .. | unit manager: Czech Republic |
Mirka Janatova | .. | production manager: second unit |
Branko Jehlar | .. | production manager: Czech Republic |
John J. Kelly | .. | unit production manager |
James Portolese | .. | production supervisor |
Russ Woolnough | .. | post-production supervisor |
Second Unit Director or Assistant Director
Mark Carter | .. | assistant director |
Robert Huberman | .. | first assistant director (as Bob Huberman) |
Tomas Husek | .. | third assistant director: Czech Republic |
Roman Janecka | .. | first assistant director: Czech Republic |
Oldrich Mach | .. | first assistant director: Czech Republic |
Tara McNamee | .. | assistant director |
Jan Mensík | .. | first assistant director: second unit |
Petr Nemecek | .. | second assistant director: Czech Republic |
Suzanne Nicell | .. | second assistant director: Ireland |
Nina Numankadic | .. | second assistant director: Czech Republic |
Nick Powell | .. | second unit director |
Mark Taylor | .. | key second assistant director |
Lenka Wimmerová | .. | second assistant director: second unit (as Lenka Wimmerova) |
Art Department
Rory Bruen | .. | standby art director |
Cos Egan | .. | set dresser |
Eoin Egan | .. | props |
Tomas Hais | .. | set dresser |
Pavel Hemmy | .. | props buyer |
Roman Illovsky | .. | stand-by art director |
Darren Kearney | .. | supervisor |
Alice Cortes Kheilova | .. | assistant to set decorator |
Marketa Korinková | .. | storyboard artist |
Martin Kotek | .. | set dresser |
Martin Kubricht | .. | set dresser stand-by construction: second unit |
Tomás Lehovec | .. | stand-by props |
Bernard Lyster | .. | trainee props |
Paul McDonnell | .. | polycarver foreman |
Stefan Mily | .. | sets buyer |
Eamonn O'Higgins | .. | property master |
Marketa Puzmanova | .. | art department coordinator |
Ján Svoboda | .. | art director: Czech Republic |
Pavel Tatar | .. | draftsman |
David Voborsky | .. | assistant art director |
David Vondrasek | .. | assistant art director |
David Wilson | .. | art director: Ireland |
Sound Department
Howard Bargroff | .. | re-recording mixer |
Sefi Carmel | .. | foley editor / foley mixer |
Peter Crooks | .. | sound effects editor (as Pete Crooks) |
Graham Daniel | .. | re-recording mixer |
Patrick Dodd | .. | supervising sound editor |
Andrew Felton | .. | cable person: sound |
Samir Foco | .. | sound designer |
Nick Foley | .. | adr recordist |
Gareth Rhys Jones | .. | adr editor |
Srdjan Kurpjel | .. | sound effects editor |
Zeljko Lopicic-Lepierre | .. | sound designer |
Chris Navarro | .. | adr recordist |
Pietro Paletti | .. | assistant sound editor |
Roman Rigo | .. | boom operator |
Albert Roca | .. | dubbing editor |
Martin Schinz | .. | re-recording mixer |
Reinhard Stergar | .. | sound mixer |
Jack Stew | .. | foley artist |
Ted Swanscott | .. | adr mixer |
Danton Tanimura | .. | assistant sound editor |
Vanesa Lorena Tate | .. | apprentice sound editor (as Vanesa L. Tate) |
Eric Thompson | .. | adr mixer |
Burak Topalakci | .. | sound editor |
John Soukup | .. | sound transfer (uncredited) |
Jay Wilkinson | .. | dubbing editor: Los Angeles (uncredited) |
Special Effects by
Milos Brosinger | .. | special effects technician |
Tomas Brosinger | .. | special effects technician |
Kevin Byrne | .. | special effects supervisor: Ireland |
Conor Coughlan | .. | senior special effects technician |
Martin Kulhanek | .. | special effects floor supervisor |
Miroslav Miclik | .. | special effects technician |
Jacub Nierostek | .. | special effects senior technician (as Jakub Nierostek) |
Petr Nusek | .. | armour weapons supervisor |
Jan Ryvola | .. | special effects assistant |
Pavel Sagner | .. | special effects supervisor |
Stanislav Smeral | .. | special effects technician |
Jirí Vater | .. | special effects senior technician |
Visual Effects by
Ales Dlabac | .. | 3D animator |
Roland Friedrich | .. | Inferno artist |
Miro Gal | .. | flame artist / inferno artist |
Maros Kesjar | .. | digital effects artist |
Helena Keslova | .. | Flame artist |
Vít Komrzý | .. | visual effects producer |
Robert Loudil | .. | visual effects artist |
Zdenek Machuta | .. | 2D animator |
Florian Martin | .. | supervising digital colourist |
Jaroslav Minarik | .. | 2D animator |
Marius Mohnssen | .. | visual effects supervisor |
Peter Nemec | .. | Flame artist / visual effects supervisor: UPP |
Traudl Nicholson | .. | digital film colorist |
Jaroslav Polensky | .. | 3D animator / visual effects supervisor |
Rainer Schmidt | .. | digital film colorist (as Rainer Schmit) |
Rasto Simocko | .. | Flame artist |
Jiri Stamfest | .. | matte artist |
Zbynek Travincky | .. | 3D animator |
Zbynek Travnicky | .. | 3D animator |
Jan Vseticek | .. | visual effects coordinator |
Anthony Wonsoff | .. | title designer |
Stunts
Rastislav Benza | .. | stunts |
Radek Bruna | .. | stunts |
Jean-Jacques Desplanque | .. | stunts |
Tomas Ereminas | .. | stunts |
Monika Fiserova | .. | horse coordinator |
Vladimir 'Furdo' Furdik | .. | stunts |
Nick Gillard | .. | stunt coordinator |
Jan Holicek | .. | stunts |
Jiri Horky | .. | stunts |
Peter Hric | .. | horse master (as Andy Peter Hric) |
Zdena Hricova | .. | horse wrangler |
Milan Hrvol | .. | stunts |
Saulius Janavicius | .. | stunts |
Roman Jankovic | .. | stunts |
Radoslav Lehocky | .. | stunts |
Miroslav Lhotka | .. | stunts |
Dimo Lipitkovsky | .. | stunts (as Dimo Liptkovsky) |
Jan Loukota | .. | stunts |
Branislav Martinak | .. | utility stunts |
Pavel Novotny | .. | stunts |
Petr Nusek | .. | sword fighter |
Jaroslav Peterka | .. | stunts |
Jan Petrina | .. | stunts |
Nick Powell | .. | stunt coordinator |
Michael Sandala | .. | stunts |
Jiri Simberský | .. | stunt rigger |
Roman Spacil | .. | stunt double / stunts |
Vasilev Raichio Stefanov | .. | stunts |
Jakub Svec | .. | stunt double: swordfight |
Juraj Szigetta | .. | stunts |
Dusan Tadlanek | .. | stunts |
Martin Turecek | .. | stunts |
Raicho Vasilev | .. | stunts |
Libor Vrba | .. | stunt performer |
Rudolf Vrba | .. | stunts |
Philippe Zone | .. | stunts: Ireland |
Camera and Electrical Department
Niv Abootalebi | .. | second assistant camera: 'a' camera |
Robert-James Bova | .. | best boy / grip |
Kriz David | .. | rigging gaffer: Czech republic |
Tony Devlin | .. | gaffer |
Helge Felgendreher | .. | key grip |
Addo Gallagher | .. | electrician |
Thomas Gottschalk | .. | first assistant camera: 'b' camera, Ireland |
Ivo Gresak | .. | key grip: Czech Republic |
Miro Gábor | .. | director of photography: second unit |
Larry D. Horricks | .. | additional still photographer |
Philipp Kirsamer | .. | first assistant camera |
Peter Kramer | .. | best boy electric |
Michal Krbecek | .. | second assistant camera |
Erwin Lanzensberger | .. | camera operator |
Kacper Lisowski | .. | camera operator |
Martin Maryska | .. | second camera unit |
Mario Matic | .. | grip |
Garreth Nevin | .. | camera assistant trainee |
Roland Patzelt | .. | best boy |
Gunnar Peper | .. | electrician |
Fiona Regan | .. | electrician |
Jan Rehanzl | .. | co-key grip |
Jürgen Ruge | .. | daily electrician |
Roman Svoboda | .. | electrician |
Rico Torres | .. | still photographer |
Casting Department
Nancy Bishop | .. | casting: Prague |
Anja Dihrberg | .. | casting: Germany |
Kate Dowd | .. | casting: UK |
Jirí Hrstka | .. | extras casting |
Kirsty Kinnear | .. | casting associate |
Costume and Wardrobe Department
Giovanni Casalnuovo | .. | first assistant costume designer |
Jirina Eisenhamerova | .. | costumer |
Daniel Fortin | .. | costume assistant |
Bela Friedlová | .. | wardrobe |
Rebecca Higginson | .. | set costumer |
Hana Kucerova | .. | costume supervisor: Czech Republic |
Karolina Morrison | .. | costume assistant |
Bibo Pilley | .. | costume assistant |
Cathy Smith | .. | key costumer |
Larisa Sramkova | .. | seamstress |
Mariano Tufano | .. | assistant costume designer |
Sarka Zazvorkova | .. | costume supervisor |
Sarka Zvolenska | .. | costume supervisor: re-shoots |
Editorial Department
Stephen Boucher | .. | associate editor |
Florian Martin | .. | supervising digital film colorist (as Florian 'Utsi' Martin) |
Mandy Rahn | .. | digital intermediate producer |
Geraint Huw Reynolds | .. | assistant editor |
Joe Stabb | .. | avid engineer |
Bianca Stumpf | .. | film color timer |
Lonnie A. Mathes | .. | post-production assistant (uncredited) |
Location Management
Adam Fuchs | .. | assistant location manager |
Jaroslav Vaculik | .. | location manager |
Music Department
Mark Berrow | .. | musician: violin |
Rachel Bolt | .. | viola |
Sophie Cornet | .. | music editor |
Anne Dudley | .. | conductor / music producer / orchestrator |
Roger Dudley | .. | music producer |
Julian Leaper | .. | musician: violin solos |
Steve Mair | .. | musician: double bass |
Steve Price | .. | music recording engineer |
Marc Streitenfeld | .. | music consultant |
John Warhurst | .. | music editor: temp music |
Bruce White | .. | musician: viola |
Aleksandar Dimitrijevic | .. | composer: trailer music (uncredited) |
Noah Katz | .. | assistant music editor (uncredited) |
Paul Kegg | .. | musician: cello (uncredited) |
Transportation Department
Vaclav Mottl | .. | transportation coordinator |
Tony Vizina | .. | driver: cast |
Pavel Voracek | .. | transportation coordinator |
Other crew
Catherine Allinson | .. | script supervisor |
Christopher Berg | .. | technical coordinator: ARRI |
Bianca Bezdek-Goodloe | .. | legal representative / legal services |
Josef Brandmaier | .. | structured finance by |
René Brar | .. | story editor |
Mel Churcher | .. | acting coach |
Peter J. Clark | .. | script supervisor: second unit |
William Conacher | .. | dialect coach |
Jessica Drake | .. | dialect coach |
Eddie Drew | .. | animal handler: Ireland |
Michal Engrth | .. | assistant accountant |
Monika Fiserova | .. | horse manager |
Danica Fleischerova | .. | production coordinator (as Danica Matulayova) |
Jack W. Haddox | .. | post-production accountant / production auditor: reshoots |
Steven Ho | .. | choreographer: James Franco / sword trainer: James Franco |
Moira Houlihan | .. | unit publicist |
Charles Howes | .. | tutor |
Jerrold McKinley Ivery | .. | second assistant accountant |
Sarka Kindlova | .. | first assistant accountant |
Gustáv Kyselica | .. | sword master |
Veronika Lencova | .. | production secretary |
Iva Lukesová | .. | accountant: Czech Republic |
Dianne Mapp-Cheek | .. | production controller |
Tom Moran | .. | assistant: Tony Scott |
Lanny Nenicka | .. | cashier |
Eva Nietschová | .. | production accountant: Czech Republic, additional photography |
Sylvia Parker | .. | script supervisor: re-shoots |
Katerina Popelova | .. | first assistant coordinator (as Katerina Pokorova) |
Mila Radova | .. | assistant: Jim Lemley |
Petra Ratner | .. | production assistant (as Petra Meisnerova) |
Jacky Revah | .. | production assistant |
Adam W. Rosen | .. | legal services |
Alistair Rumball | .. | marine coordinator: Ireland |
Justin Hamilton Salem | .. | key set production assistant: second unit |
Stephen Salter | .. | Production Executive |
Lucie Samcova | .. | choreographer |
David Semela | .. | lockup |
Jordan Sheehan | .. | assistant: Ridley Scott |
Shane Starr | .. | assistant: Lisa Ellzey |
Jason Sterman | .. | assistant: Mr. Scott |
Kathleen Switzer | .. | assistant: Kevin Reynolds |
Phil Taylor | .. | production finance |
Karen Xuereb | .. | assistant production coordinator |
Philippe Zone | .. | horse master: Ireland |
Victor A. Haddox | .. | assistant post-production accountant (uncredited) |
Vladimir Kesl | .. | computer technician (uncredited) |
Howard R. Schuster | .. | financing (uncredited) |
Tristan and Isolde by Herbert James Draper
Tristan and Iseult is a romance story, retold in numerous sources with as many variations since the 12th century. The story is a tragedy about the adulterous love between the Cornish knight Tristan (Tristram, etc.) and the Irish princess Iseult (Isolde, Yseult, etc.). The narrative predates and most likely influenced the Arthurian romance of Lancelot and Guinevere, and has had a substantial impact on Western art and literature. https://cyclenew792.weebly.com/blog/download-festival-lineup-2018. While the details of the story differ from one author to another, the overall plot structure remains much the same.
- 1Narratives of the legend
- 2Origins and analogues
- 3Courtly and common branches of early Tristan literature
- 4Later versions
- 6Modern works
Narratives of the legend[edit]
Tristan and Isolde by Hughes Merle
The story and character of Tristan vary from author to author; even the spelling of his name varies a great deal, although 'Tristan' is the most popular spelling. Nevertheless, there are two main traditions of the Tristan legend. The early tradition comprised the French romances of Thomas of Britain and Béroul, two poets from the second half of the 12th century. Later traditions come from the vast Prose Tristan (c. 1240), which was markedly different from the earlier tales written by Thomas and Béroul.
Tristan & Isolde by John Duncan
After defeating the Irish knight Morholt, Tristan travels to Ireland to bring back the fair Iseult (also appearing under various spellings) for his uncle, King Mark of Cornwall, to marry. Along the way, they ingest a love potion which causes the pair to fall madly in love. In the courtly version, the potion's effects last a lifetime, but, in the common versions, the potion's effects wane after three years. In some versions, they ingest the potion accidentally; in others, the potion's maker instructs Iseult to share it with Mark, but she deliberately gives it to Tristan instead. Although Iseult marries Mark, she and Tristan are forced by the potion to seek one another, as lovers. While the typical noble Arthurian character would be shamed by such an act, the love potion that controls them frees Tristan and Iseult from responsibility. The king's advisors repeatedly endeavour to have the pair tried for adultery, but the couple continually use trickery to preserve their façade of innocence. In Béroul's version, the love potion eventually wears off, and the two lovers are free to make their own choice as to whether to cease their adulterous relationship or to continue.
As with the Arthur-Lancelot-Guineverelove triangle in the medieval courtly love motif, Tristan, King Mark, and Iseult of Ireland all love each other. Tristan honours and respects King Mark as his mentor and adopted father; Iseult is grateful that Mark is kind to her; and Mark loves Tristan as his son and Iseult as a wife. But every night, each has horrible dreams about the future. Tristan's uncle eventually learns of the affair and seeks to entrap his nephew and his bride. Also present is the endangerment of a fragile kingdom, the cessation of war between Ireland and Cornwall (Dumnonia). Mark acquires what seems proof of their guilt and resolves to punish them: Tristan by hanging and Iseult by burning at the stake, later lodging her in a leper colony. Tristan escapes on his way to the gallows. He makes a miraculous leap from a chapel and rescues Iseult. The lovers escape into the forest of Morrois and take shelter there until discovered by Mark. They make peace with Mark after Tristan's agreement to return Iseult of Ireland to Mark and leave the country. Tristan then travels to Brittany, where he marries (for her name and her beauty) Iseult of the White Hands, daughter of Hoel of Brittany and sister of Kahedin.
Association with King Arthur and demise[edit]
The earliest surviving versions already incorporate references to King Arthur and his court. The connection between Tristan and Iseult and the Arthurian legend was expanded over time, and sometime shortly after the completion of the Vulgate Cycle (the Lancelot-Grail) in the first quarter of the 13th century, two authors created the Prose Tristan, which fully establishes Tristan as a Knight of the Round Table who even participates in the Quest for the Holy Grail. The Prose Tristan became the common medieval tale of Tristan and Iseult that would provide the background for Thomas Malory, the English author who wrote Le Morte d'Arthur over two centuries later.
Tristan, Iseult and Mark in The End of the Song by Edmund Leighton
In the Prose Tristan and works derived from it, Tristan is mortally wounded by King Mark, who strikes Tristan with a lance from Morgan le Fay while Tristan is playing a harp for Iseult. The poetic versions of the Tristan legend offer a very different account of the hero's death. According to Thomas' version, Tristan was wounded by a poison lance while attempting to rescue a young woman from six knights. Tristan sends his friend Kahedin to find Iseult of Ireland, the only person who can heal him. Tristan tells Kahedin to sail back with white sails if he is bringing Iseult, and black sails if he is not. Iseult agrees to return to Tristan with Kahedin, but Tristan's jealous wife, Iseult of the White Hands, lies to Tristan about the colour of the sails. Tristan dies of grief, thinking that Iseult has betrayed him, and Iseult dies swooning over his corpse. Several versions of the Prose Tristan include the traditional account of Tristan's death found in the poetic versions.
Post-death[edit]
Geneviève and Lancelot at the Tombs of Isolde and Tristan by Eugénie Servières
In French sources, such as those picked over in the English translation by Hilaire Belloc in 1903, it is stated that a thick bramble briar grows out of Tristan's grave, growing so much that it forms a bower and roots itself into Iseult's grave. It goes on that King Mark tries to have the branches cut three separate times, and each time the branches grow back and intertwine. This behaviour of briars would have been very familiar to medieval people who worked on the land. Later tellings sweeten this aspect of the story, by having Tristan's grave grow a briar, but Iseult's grave grow a rose tree, which then intertwine with each other. Further variants refine this aspect even more, with the two plants being said to have been hazel and honeysuckle.
A few later stories even record that the lovers had a number of children. In some stories they produced a son and a daughter they named after themselves; these children survived their parents and had adventures of their own. In the French romance Ysaie le Triste (Ysaie the Sad), the eponymous hero is the son of Tristan and Iseult; he becomes involved with the fairy king Oberon and marries a girl named Martha, who bears him a son named Mark. Spanish Tristan el Joven also dealt with Tristan's son, here named Tristan of Leonis.[1]
Origins and analogues[edit]
There are many theories present about the origins of Tristanian legend, but historians disagree over which is the most accurate. What is dynamic disk windows 10.
British[edit]
The mid-6th-century Drustanus Stone monument in Cornwall has an inscription seemingly referring to Drustan, son of Cunomorus ('Mark'). However, not all historians agree that the Drustan referred to is the archetype of Tristan.
There are references to March ap Meichion ('Mark') and Trystan in the Welsh Triads, in some of the gnomic poetry, the Mabinogion stories, and in the 11th-century hagiography of Illtud. A character called Drystan appears as one of King Arthur's advisers at the end of The Dream of Rhonabwy, an early 13th-century tale in the Welsh prose collection known as the Mabinogion. Iseult is listed along with other great men and women of Arthur's court in another, much earlier Mabinogion tale, Culhwch and Olwen.[2]
Irish[edit]
![Tristan isolde movie Tristan isolde movie](/uploads/1/3/4/5/134522935/284553451.jpg)
Possible Irish antecedents to the Tristan legend have received much scholarly attention. An ill-fated triantán an ghrá or love triangle features into a number of Irish works, most notably in the text called Tóraigheacht Dhiarmada agus Ghráinne or The Pursuit of Diarmuid and Gráinne. In the story, the aging Fionn mac Cumhaill takes the young princess, Gráinne, to be his wife. At the betrothal ceremony, however, she falls in love with Diarmuid, one of Fionn's most trusted warriors. Gráinne gives a sleeping potion to all present but him, eventually convincing him to elope with her. The fugitive lovers are then pursued all over Ireland by the Fianna.
Another Irish analogue is Scéla Cano meic Gartnáin, preserved in the 14th-century Yellow Book of Lecan. In this tale, Cano is an exiled Scottish king who accepts the hospitality of King Marcan of Ui Maile. His young wife, Credd, drugs all present, and then convinces Cano to be her lover. They try to keep a tryst while at Marcan's court, but are frustrated by courtiers. Eventually Credd kills herself and Cano dies of grief.
In the Ulster Cycle there is the text Clann Uisnigh or Deirdre of the Sorrows in which Naoise mac Usnech falls for Deirdre, who was imprisoned by King Conchobar mac Nessa due to a prophecy that Ulster would plunge into civil war due to men fighting for her beauty. Conchobar had pledged to marry Deirdre himself in time to avert war, and takes his revenge on Clann Uisnigh. The death of Naoise and his kin leads many Ulstermen to defect to Connacht, including Conchobar's stepfather and trusted ally Fergus mac Róich, eventually precipitating the Táin Bó Cúailnge.
Persian and Classical[edit]
Some scholars suggest that the 11th-century Persian story Vis and Rāmin must have been the model for the Tristan legend because the similarities are too great to be coincidental.[3][4] The evidence for the Persian origin of Tristan and Iseult is very circumstantial[5] and different theories have been suggested how this Persian story might have reached the West, some suggesting story-telling exchanges during the crusades in Syrian court[4] and through minstrels who had free access to both Crusader and Saracen camps in the Holy Land.[6]
Some believe Ovid's Pyramus and Thisbe, as well as the story of Ariadne at Naxos might have also contributed to the development of the Tristan legend.[3] The sequence in which Tristan and Iseult die and become interwoven trees also parallels Ovid's love story of Baucis and Philemon in which two lovers are transformed in death into two different trees sprouting from the same trunk. However this also occurs in the saga of Deidre of the Sorrows making the link more tenuous and ignores the (now lost) oral traditions of preliterate societies, relying only on written records which are known to have been damaged – especially during the Dissolution of the Monasteries – during the development of modern nation states such as England and France.
Courtly and common branches of early Tristan literature[edit]
Yseult by Gaston Bussière
Courtly branch[edit]
The earliest representation of what scholars name the 'courtly' version of the Tristan legend is in the work of Thomas of Britain, dating from 1173. Only ten fragments of his Tristan poem, representing six manuscripts, have ever been located: the manuscripts in Turin and Strassburg are now lost, leaving two in Oxford, one in Cambridge and one in Carlisle.[3] In his text, Thomas names another trouvère who also sang of Tristan, though no manuscripts of this earlier version have been discovered. There is also a passage telling how Iseult wrote a short lai out of grief that sheds light on the development of an unrelated legend concerning the death of a prominent troubadour, as well as the composition of lais by noblewomen of the 12th century.
The next essential text for knowledge of the courtly branch of the Tristan legend is the abridged translation of Thomas made by Brother Robert at the request of King Haakon Haakonson of Norway in 1227. King Haakon had wanted to promote Angevin-Norman culture at his court, and so commissioned the translation of several French Arthurian works. The Nordic version presents a complete, direct narrative of the events in Thomas' Tristan, with the telling omission of his numerous interpretive diversions. It is the only complete representative of the courtly branch in its formative period.[7]
Preceding the work of Brother Robert chronologically is the Tristan and Isolt of Gottfried von Strassburg, written circa 1211–1215. The poem was Gottfried's only known work, and was left incomplete due to his death with the retelling reaching half-way through the main plot. The poem was later completed by authors such as Heinrich von Freiberg and Ulrich von Türheim, but with the 'common' branch of the legend as the ideal source.[8]
Common branch[edit]
The earliest representation of the 'common branch' is Béroul's Le Roman de Tristan, the first part of which is generally dated between 1150 and 1170, and the latter part between 1181 and 1190. The branch is so named due to its representation of an earlier non-chivalric, non-courtly, tradition of story-telling, making it more reflective of the Dark Ages than of the refined High Middle Ages. In this respect, they are similar to Layamon's Brut and the Perlesvaus. As with Thomas' works, knowledge of Béroul's is limited. There were a few substantial fragments of his works discovered in the 19th century, and the rest was reconstructed from later versions.[9]
The more substantial illustration of the common branch is the German version by Eilhart von Oberge. Eilhart's version was popular, but pales in comparison with the later Gottfried.[8]
Questions regarding a common source[edit]
The French medievalist Joseph Bédier thought all the Tristan legends could be traced to a single original poem, adapted by Thomas of Brittany into French from an original Cornish or Breton source. He dubbed this hypothetical original the 'Ur-Tristan', and wrote his still-popular Romance of Tristan and Iseult as an attempt to reconstruct what this might have been like. In all likelihood, common branch versions reflect an earlier form of the story; accordingly, Bédier relied heavily on Eilhart, Béroul and Gottfried von Strassburg, and incorporated material from other versions to make a cohesive whole. A new English translation of Bédier's Roman de Tristan et Iseut (1900) by Edward J. Gallagher was published in 2013 by Hackett Publishing Company. A translation by Hilaire Belloc, first published in 1913, it was published in 1958 as a Caedmon Audio recording read by Claire Bloom[10] and republished in 2005.
Later versions[edit]
Tristan and Iseult on their way to Cornwall, a medieval miniature by Évrard d'Espinques (15th century)
French[edit]
Contemporary with Béroul and Thomas, Marie de France presented a Tristan episode in one of her lais: 'Chevrefoil'. It concerns another of Tristan's clandestine returns to Cornwall in which the banished hero signals his presence to Iseult by means of an inscription on a branch of a hazelnut tree placed on the road she will travel. The title refers to the symbiosis of the honeysuckle and hazelnut tree which die when separated, as do Tristan and Iseult: 'Ni vous sans moi, ni moi sans vous.' ('Neither you without me, nor me without you.') This episode is reminiscent of one in the courtly branch when Tristan uses wood shavings put in a stream as signals to meet in the garden of Mark's palace.
There are also two 12th-century Folies Tristan, Old French poems identified as the Berne and the Oxford versions, which relate Tristan's return to Marc's court under the guise of a madman. Besides their own importance as episodic additions to the Tristan story and masterpieces of narrative structure, these relatively short poems significantly contributed to restoring the missing parts of Béroul's and Thomas' incomplete texts.[11]
Chrétien de Troyes claims to have written a Tristan story, though no part of it has ever been found. He mentions this in the introduction to Cligès, a romance that many see as a kind of anti-Tristan with a happy ending. Some scholars speculate his Tristan was ill-received, prompting Chretien to write Cligès – a story with no Celtic antecedent – to make amends.[12]
After Béroul and Thomas, the most important development in French Tristaniana is a complex grouping of texts known broadly as the Prose Tristan. Extremely popular in the 13th and 14th century, the narratives of these lengthy versions vary in detail from manuscript to manuscript. Modern editions run twelve volumes for the long version, which includes Tristan's participation in the Quest for the Holy Grail, or five volumes for a shorter version without the Grail Quest.[13] It had a great influence on later medieval literature, and inspired parts of the Post-Vulgate Cycle and the Roman de Palamedes.
English[edit]
The earliest complete source of the Tristan material in English was Sir Tristrem, a romance of some 3344 lines written circa 1300. It is preserved in the famous Auchinleck manuscript at the National Library of Scotland. The narrative largely follows the courtly tradition. As is true with many medieval English adaptations of French Arthuriana, the poem's artistic achievement can only be described as average, though some critics have tried to rehabilitate it, claiming it is a parody. Its first editor, Walter Scott, provided a sixty line ending to the story, which has been printed with the romance in every subsequent edition.[14]
The only other medieval handling of the Tristan legend in English is Thomas Malory's The Book of Sir Tristram de Lyones, a shortened 'translation' of the French Prose Tristan, in his Le Morte d'Arthur. Since the Winchester Manuscript surfaced in 1934, there has been much scholarly debate whether the Tristan narrative, like all the episodes in Le Morte d'Arthur, was originally intended to be an independent piece or part of a larger work.
Nordic[edit]
The popularity of Brother Robert's version spawned a unique parody, Saga Af Tristram ok Ísodd, as well as the poem Tristrams kvæði. In the collection of Old Norse prose-translations of Marie de France's lais – called Strengleikar (Stringed Instruments) – two lais with Arthurian content have been preserved, one of them being the 'Chevrefoil', translated as 'Geitarlauf'.[15]
By the 19th century, scholars had found Tristan legends spread across the Nordic world, from Denmark to the Faroe Islands. These stories, however, diverged greatly from their medieval precursors. In one Danish ballad, for instance, Tristan and Iseult are made brother and sister. Other unlikely innovations occur in two popular Danish chapbooks of the late 18th-century Tristans saga ok Inionu and En tragoedisk Historie om den ædle og tappre Tistrand, in which Iseult is made the princess of India. The popularity of these chapbooks inspired Icelandic poets Sigurður Breiðfjörð and Níels Jónsson to write rímur, long verse narratives, inspired by the Tristan legend.[16]
Dutch and Welsh[edit]
A 158-line fragment of a Dutch version (ca. 1250) of Thomas of Britain's Tristan exists. It is being kept in the Austrian National Library in Vienna, Series nova 3968. A short Tristan narrative, perhaps related to the Béroul text, exists in six Welsh manuscripts dating from the late 16th to the mid 17th century.[17]
Spanish[edit]
In the first third of the 14th century, Arcipreste de Hita wrote his version of the Tristan story, Carta enviada por Hiseo la Brunda a Tristán. Respuesta de Tristán was a unique 15th-century romance written in the form of imaginary letters between the two lovers. Libro del muy esforzado caballero Don Tristán de Leonís y de sus grandes hechos en armas, Spanish reworking of the Prose Tristan, was first published in Valladolid in 1501.
Italian[edit]
Giovanni dal Ponte's Two couples - Paris and Helen, Tristan and Iseult (1410s)
In Italy, there were many cantari, or oral poems performed in the public square, either about Tristan or frequently referencing him, including Cantari di Tristano; Due Tristani; Quando Tristano e Lancielotto combattiero al petrone di Merlino; Ultime imprese e morte Tristano; and Vendetta che fe Messer Lanzelloto de la Morte di Messer Tristano.
There are also four differing versions of the Prose Tristan in medieval Italy, most named after their place of composition or library in which they are currently to be found: Tavola Ritonda, Tristano Panciaticchiano, Tristano Riccardiano, and Tristano Veneto.[18]
Slavic[edit]
A 13th-century verse romance exists in Czech, based on the German Tristan poems by Gottfried von Strassburg, Heinrich von Freiberg and Eilhart von Oberge. It is the only known verse representative of the Tristan story in a Slavic language.[19]
The Belarusian prose Povest o Tryshchane represents the furthest eastern advance of the legend, and, composed in the 1560s, is considered by some critics to be the last 'medieval' Tristan or Arthurian text period. Its lineage goes back to the Tristano Veneto. Venice, at that time, controlled large parts of the Serbo-Croatian language area, engendering a more active literary and cultural life there than in most of the Balkans during this period. The manuscript of the Povest states that it was translated from a (lost) Serbian intermediary. Scholars assume that the legend must have journeyed from Venice, through its Balkan colonies, finally reaching a last outpost in this Slavic language.[20]
Art[edit]
Tristan and Iseult playing chess while drinking the love potion aboard a ship (medieval miniature, 1470)
The Tristan story was represented in several art media, from ivory mirror-cases to the 13th-century Sicilian Tristan Quilt. Many of the manuscripts with literary versions are illuminated with miniatures.
Modern works[edit]
Literature[edit]
In English, the Tristan story suffered the same fate as the Matter of Britain generally. After being mostly ignored for about three centuries, there was a renaissance of original Arthurian literature, mostly narrative verse, in the late 19th and early 20th centuries.
Tristan material in this revival included Alfred Tennyson's The Last Tournament, one of his Idylls of the King; Matthew Arnold's Tristram and Iseult. Another Victorian work was Algernon Charles Swinburne's epic poem Tristram of Lyonesse.
Thomas Hardy's The Famous Tragedy of the Queen of Cornwall at Tintagel in Lyonnesse is a one-act play which was published in 1923 (the book includes an imaginary drawing of the castle at the period).[21]Rutland Boughton's opera The Queen of Cornwall (1924) was based on Thomas Hardy's play.
After World War II, most Tristan texts were in the form of prose novels or short stories:
Tristan En Isolde Imdb
- The Cornish writer Arthur Thomas Quiller-Couch ('Q') started Castle Dor, a retelling of the Tristan and Iseult myth in modern circumstances with an innkeeper in the role of King Mark, his wife as Iseult and a Breton onion-seller as Tristan, the plot set in 'Troy', his name for his home town of Fowey. The book was left unfinished at Quiller-Couch's death and was completed many years later, in 1962, by Daphne du Maurier.
- Rosemary Sutcliff also wrote two early adult/children's novels based on the story of Tristan and Iseult. The first, Tristan and Iseult, is a retelling of the story for young adults and was first published in 1971. It received the Boston-Globe Horn Book Award in 1972, and was runner-up for the 1972 Carnegie Medal. It is set primarily in Cornwall in the southern peninsula of Britain. The story appears again as a chapter of her later Arthurian novel, The Sword and the Circle (1981).
- Novelist Thomas Berger retold the story of Tristan and Isolde in his 1978 interpretation of Arthurian legend, Arthur Rex: A Legendary Novel.
- Diana L. Paxson's 1988 novel The White Raven tells the tale of Tristan and Iseult, called in her book Drustan and Esseilte, from the perspective of Iseult's handmaiden Brangien ('Branwen'), who was mentioned in various of the medieval stories.
- Joseph Bédier's Romance of Tristan and Iseult is quoted as a source by John Updike in the afterword to his 1994 novel Brazil about the lovers Tristão and Isabel.
- Bernard Cornwell includes a 'historical' interpretation of the legend as a side story in Enemy of God: A Novel of Arthur, a 1996 entry in The Warlord Chronicles series.
- Rosalind Miles wrote a trilogy about Tristan and Isolde: The Queen of the Western Isle (2002), The Maid of the White Hands (2003), and The Lady of the Sea (2004).
- Nancy McKenzie wrote a book Prince of Dreams: A Tale of Tristan and Essylte as part of her Arthurian series in 2003.
- In Bengali literature the story has been depicted by author Sunil Gangopadhyay in the novel Sonali Dukkho.
- In Harry Turtledove's alternate historyRuled Britannia, Christopher Marlowe (who lives longer in the novel's timeline than he did in our history) writes a play called Yseult and Tristan to compete with his friend William Shakespeare's immensely popular Hamlet. No details of the play are given.
Music[edit]
Wagner's opera Tristan und Isolde celebrated in a 1933 German stamp
In 1832, Gaetano Donizetti references this story in his opera L'elisir d'amore as the character of Adina sings the story to the ensemble, inspiring Nemorino to ask the charlatan Dulcamara for the magic elixir. Premiered uin 1865, Richard Wagner's Tristan und Isolde depicts Tristan as a doomed romantic figure, while Isolde fulfils Wagner's quintessential feminine rôle as the redeeming woman.
Twentieth-century composers also used the legend (often with Wagnerian overtones) in their compositions. Olivier Messiaen built his Turangalîla-Symphonie around the story. Hans Werner Henze's Tristan borrowed freely from the Wagnerian version as well as retellings of the legend.
Tristan And Isolde Film
- The Swiss composer Frank Martin wrote a chamber opera Le vin herbé between 1938–1940 after being influenced by Wagner.
- Blind Guardian, a power metal band from Germany, also has a song inspired by Tristan and Iseult's story, 'The Maiden and the Minstrel Knight', from their A Night at the Opera album.
- Colin Meloy's former band Tarkio have a song entitled 'Tristan and Iseult' from their Sea Songs for Landlocked Sailers ep.
- Patrick Wolf, English singer and songwriter, has a song about the Tristan and Iseult legend: 'Tristan' from his second album Wind in the Wires.
- Inspired by Thomas Hardy's play The Famous Tragedy of The Queen of Cornwall the English composer Rutland Boughton composed the music-drama The Queen of Cornwall. The first performance took place at the Glastonbury Festival in 1924. Already famous for 'The Immortal Hour' and 'Bethlehem', Boughton's growth as a unique and powerful operatic composer is evident in this treatment of the Tristram and Isolde legend. Feeling that Hardy's play offered too much unrelieved grimness he received the playwright's permission to import a handful of lyrics from his earlier published poetical works. The result is an altogether impressive and effective work, thought by many to be Boughton's masterpiece in this genre. In 2010 it was recorded on the Dutton Epoch label, in which Ronald Corp conducts the New London Orchestra, members of the London Chorus and with soloists Neal Davies (King Mark), Heather Shipp (Queen Iseult), Jacques Imbrailo (Sir Tristam) and Joan Rodgers (Iseult of Brittany).
Films[edit]
The story has also been adapted into film many times.[22]
- The earliest is probably the 1909 French film Tristan et Yseult, an early, silent version of the story.[23] This was followed by another French film of the same name two years later, which offered a unique addition to the story. Here, it is Tristan's jealous slave Rosen who tricks the lovers into drinking the love potion, then denounces them to Mark. Mark has pity on the two lovers, but they commit double suicide anyway.[23] A third silent French version appeared in 1920, and follows the legend fairly closely.[23]
Tristan En Isolde Full Movie
- One of the most celebrated and controversial Tristan films was 1943's L'Éternel Retour (The Eternal Return), directed by Jean Delannoy (screenplay by Jean Cocteau). It is a contemporary retelling of the story with a man named Patrice in the Tristan role fetching a wife for his friend Marke. However, an evil dwarf tricks them into drinking a love potion, and the familiar plot ensues.[23] The film was made in France during the Vichy regime, and elements in the movie reflect Nazi ideology, with the beautiful, blonde hero and heroine off-set by the Untermensch dwarf. The dwarf is given a larger role than in most interpretations of the legend; its conniving rains havoc on the lovers, much like the Jews of Nazi stereotypes.
- This was followed by the avant-garde French film Tristan et Iseult in 1972 and the Irish Lovespell, featuring Nicholas Clay as Tristan and Kate Mulgrew as Iseult; coincidentally, Clay went on to play Lancelot in John Boorman's epic Excalibur.[23]
- The 1970 Spanish film Tristana is only tangentially related to the Tristan story. The Tristan role is assumed by the female character Tristana, who is forced to care for her aging uncle, Don Lope, though she wishes to marry Horacio.[23]
- The popular German film Fire and Sword premiered in 1981. It was very accurate to the story, though it cut the Iseult of Brittany subplot.[23]
- French director François Truffaut adapted the subject to modern times for his 1981 film La Femme d'à côté (The Woman Next Door), while 1988's In the Shadow of the Raven transported the characters to medieval Iceland. Here, Trausti and Isolde are warriors from rival tribes who come into conflict when Trausti kills the leader of Isolde's tribe, but a local bishop makes peace and arranges their marriage.[23]
- Bollywood director Subhash Ghai transfers the story to modern India and the United States in his 1997 musical Pardes. The Indian American Kishorilal (Amrish Puri) raises his orphaned nephew Arjun (Shahrukh Khan). Eventually, Pardes sends Arjun back to India to lure the beautiful Ganga (Mahima Chaudhary) as a bride for his selfish, shallow son Rajiv (Apoorva Agnihotri). Arjun falls for Ganga, and struggles to remain loyal to his cousin and beloved uncle.
- The 2002 French animated film Tristan et Iseut is a bowdlerized version of the traditional tale aimed at a family audience.
- The legend was given a relatively high-budget treatment with 2006's Tristan & Isolde, produced by Tony Scott and Ridley Scott, written by Dean Georgaris, directed by Kevin Reynolds, and starring James Franco and Sophia Myles. In this version, Tristan is a Cornish warrior who was raised by Lord Marke after his parents were killed at a young age. In a fight with the Irish, Tristan defeats Morholt, the Irish King's second, but is poisoned in the process. The poison dulls all his senses and his companions believe him dead. He is sent off in a boat meant to cremate a dead body. Isolde, dismayed over her unwilling betrothal to Morholt, leaves her home and finds Tristan on the Irish coast. She tells Tristan that she is called Bragnae, which is the name of her maidservant. Isolde takes care of him and hides him from her father. They spend long days together and come to care for each other. Eventually they confess their feelings for one another and consummate their love. Tristan's boat is discovered and Isolde's father begins a search for a Cornish warrior in Ireland. Isolde helps Tristan escape but cannot leave with him. Tristan returns to England and learns of a tournament between the Cornish tribes for the hand of the Irish princess named Isolde. He agrees to participate to win the princess as Marke's wife. After winning the tournament and discovering that the princess is the woman who had rescued him, Tristan is devastated but decides to bury his feelings, because her marriage to Marke would end decades of bloodshed. Eventually Tristan cannot stand to be apart from Isolde any longer and they start their adulterous relationship. Later, they are found out but Marke frees them after hearing their story. Tristan, however, returns to defend Marke against a rebellion. He dies a hero, with Isolde at his side.
See also[edit]
- Medieval hunting (terminology)
Notes and references[edit]
- ^N. J. Lacy (et al.). 'Carta enviada por Hiseo la Brunda Tristan', 'Repuesta de Tristan' from The New Arthurian Encyclopedia. New York : Garland Publishing, 1991.
- ^Jeffrey Gantz (translator), Culhwch and Olwen, from The Mabinogion, Penguin, 1976. ISBN0-14-044322-3
- ^ abcStewart Gregory (translator), Thomas of Britain, Roman de Tristan, New York: Garland Publishers, 1991. ISBN0-8240-4034-1
- ^ abFakhr al-Dīn Gurgānī, and Dick Davis. 2008. Vis & Ramin. Washington, DC: Mage publishers.
- ^Grimbert, Joan T. 1995. Tristan and Isolde: a casebook. New York: Garland Pub.
- ^Grimbert, Joan T. 1995. Tristan and Isolde: a casebook. p. 21.
- ^P. Schach, The Saga of Tristram and Isond, University of Nebraska Press, 1973
- ^ abNorris J. Lacy et al. 'Gottfried von Strassburg' from The New Arthurian Encyclopedia, New York: Garland, 1991.
- ^'Early French Tristan Poems', from Norris J. Lacy (editor), Arthurian Archives, Cambridge, England; Rochester, NY: D.S. Brewer, 1998. ISBN0-8240-4034-1
- ^Trove, National Library of Australia[1]
- ^Norris J. Lacy (editor) Arthurian Archives: Early French Tristan Poems. Cambridge (England); Rochester, NY : D.S. Brewer, 1998. ISBN0-8240-4034-1
- ^N. J. Lacy (et al.). Cliges from The New Arthurian Encyclopedia. New York : Garland Publishing, 1991.
- ^Before any editions of the Prose Tristan were attempted, scholars were dependent on an extended summary and analysis of all the manuscripts by Eilert Löseth in 1890 (republished in 1974). Of the modern editions, the long version is made up of two editions: Renée L. Curtis, ed. Le Roman de Tristan en prose, vols. 1–3 (Cambridge: D.S. Brewer, 1963–1985) and Philippe Ménard, exec. ed. Le Roman de Tristan en Prose, vols. 1–9 (Geneva: Droz, 1987–1997). Curtis' edition of a simple manuscript (Carpentras 404) covers Tristan's ancestry and the traditional legend up to Tristan's madness. However, the massive amount of manuscripts in existence dissuaded other scholars from attempting what Curtis had done until Ménard hit upon the idea of using multiple teams of scholars to tackle the infamous Vienna 2542 manuscript. His edition follows from Curtis' and ends with Tristan's death and the first signs of Arthur's fall. Richard Trachsler is currently preparing an edition of the 'continuation' of the Prose Tristan. The shorter version, which contains no Grail Quest, is published by Joël Blanchard in five volumes.
- ^Alan Lupak (editor). Lancelot of the Laik and Sir Tristrem. Kalamazoo, Michigan: Medieval Institute Publications. 1994.
- ^ von Rudolph, Meissner (trans.), Die Strengleikar : ein Beitrag zur Geschichte der altnordischen Prosalitteratur (Halle a.S : M. Niemeyer, 1902)
- ^N. J. Lacy (et al.). Tristan from The New Arthurian Encyclopedia. New York : Garland Publishing, 1991.
- ^The Tristan Legend Hill. Leeds England: Leeds Medieval Studies. 1973.
- ^N. J. Lacy (et al.) (1991). The New Arthurian Encyclopedia. New York: Garland Publishing.
- ^N. J. Lacy (et al.). Czech Arthurian Literature from The New Arthurian Encyclopedia. New York : Garland Publishing, 1991.
- ^Kipel, Z (c. 1988). The Byelorussian Tristan. New York: Garland Publishing. ISBN0-8240-7598-6.
- ^Hardy, Thomas (1923) The Famous Tragedy of the Queen of Cornwall at Tintagel in Lyonnesse. London: Macmillan; two drawings by Hardy reproduced as plates
- ^'Films named Tristan and Isolde'. Internet Movie Database.
- ^ abcdefghHarty, Kevin J. 'Arthurian Film from the Camelot Project at the University of Rochester'.
External links[edit]
Tristan En Isolde Verhaal
Wikimedia Commons has media related to Tristan and Iseult. |
- Tristan and Iseult public domain audiobook at LibriVox
- (in French)Tristan and Iseult, audio version
Tristan And Isolde
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