How long wilt thou forget me, O Lord? for ever? How long wilt thou hide thy face from me? She came upon the Song of Songs—which had been pasted down in the Enschede Bible—the burning litany of love; and from time to time she intoned some verse of tender lyric beauty. She turned to the stage, and Tristan was wounded in Kurvenal’s arms, with Isolde at his feet, and King Mark, the incarnation of masculine force and obligation, the masculine creditor of love and beauty, stood over him, and the second climax was ending in wreaths and reek of melodies; and then the curtain was coming down in a series of short rushes, the music had ended, and the people were stirring and breaking out into applause, and the lights of the auditorium were resuming. .
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