The wish for annihilation in ‘love–death’ as collapse of the need for recognition, in Wagner'sTristan und Isolde

Abstract

Wagner's Tristan und Isolde holds a central position in Western music and culture. It is shown to demonstrate consequences of interruption of developmental processes involving the need for recognition of subjectivity, resulting in the collapse of this need into the wish for annihilation of self and other through 'love-death' [Liebestod]. A close reading of the musical language of the opera reveals how this interruption is demonstrated, and the consequent location of identity outside of language, particularly suitable for expression in music. Isolde's dynamics are presented as distinct from that of Tristan, and in contrast to other interpretations of Tristan and Isolde's love as an attack on the Oedipal order, or as a regressive wish for pre-Oedipal union. Isolde's Act I narrative locates the origin of her desire in the protagonists' mutual gaze at a traumatic moment. In this moment powerful and contrasting emotions converge, evoking thwarted developmental needs, and arousing the fantasy of redemption in love-death. By removing the magical elements, Wagner enables a deeper understanding of the characters' positions in relation to each other, each with his or her own needs for recognition and traumatic experiences. These positions invite mutual identifications resulting in rising tension between affirmation of identity and annihilation, with actual death as the only possible psychic solution. The dynamics described in the opera demonstrate the function of music and opera in conveying meaning which is not verbally expressible.

La traviataand Oedipus

“…Recent opera‐based IJP papers centre on some major aspect of psychopathology central to the dramatic action, focusing particularly on how the psychopathology might be illustrated by the music. Rusbridger (), for example, has explored the manic and murderous masquerade concealing the internal emptiness of the narcissist in Don Giovanni , and psychotic projective identification regarding envy and jealousy in Otello (Rusbridger, ); Hindle and Godsill (2006) have examined sanity and madness in Julietta ; Bergstein () has investigated the wish for annihilation in Tristan und Isolde ; and Grier () has discussed themes of sadism, sexual violence and voyeurism in Rigoletto . In comparison, what does La Traviata have to offer?…”