From this time forward my resolve to produce Tristan had to be seriously entertained, as it was written in plain letters in my book of fate. To all these circumstances I was indebted for the continuation of the favourable mood in which I now brought the second act of Siegfried to a close. My daily walks were directed on bright summer afternoons to the peaceful Sihlthal, in whose wooded surroundings I listened long and attentively to the song of the forest birds, and I was astonished to make the acquaintance of entirely new melodies, sung by singers whose forms I could not see and whose names I did not know. In the forest scene of Siegfried I put down, in artistic imitation of nature, as much as I could remember of these airs. At the beginning of August I had carefully sketched the composition of the second act. I was glad I had reserved the third act with the awakening of Brunhilda for the time when I should again be able to go on with the opera, for it seemed to me that all the problems in my work were now happily solved, and that all that remained was to get pure joy out of it.
As I firmly believed in the wisdom of husbanding my artistic power, I now prepared to write out Tristan. A certain strain was put upon my patience at this point by the arrival of the excellent Ferdinand Prager from London. His visit, in other respects, was a source of genuine pleasure to me, for I was bound to recognise in him a faithful and life-long friend. The only difficulty was, that he laboured under the delusion that he was exceptionally nervous, and that he was persecuted by fate. This was a source of considerable annoyance to me, as with the best will in the world, I could not muster up any sympathy for him. We helped ourselves out of the dilemma by an excursion to Schaffhausen, where I paid my first visit to the famous Rhine Falls, which did not fail to impress me duly.
About this time the Wesendoncks moved into their villa, which had now been embellished by stucco-workers and upholsterers from Paris. At this point a new phase began in my relations with this family, which was not really important, but nevertheless exercised considerable influence on the outward conduct of my life. We had become so intimate, through being such near neighbours in a country place, that it was impossible to avoid a marked increase in our intimacy if only through meeting one another daily. I had often noticed that Wesendonck, in his straightforward open manner, had shown uneasiness at the way in which I made myself at home in his house. In many things, in the matter of heating and lighting the rooms, and also in the hours appointed for meals, consideration was shown me which seemed to encroach upon his rights as master of the house. It needed a few confidential discussions on the subject to establish an agreement which was half implied and half expressed. This understanding had a tendency, as time wore on, to assume a doubtful significance in the eyes of other people, and necessitated a certain measure of precaution in an intimacy which had now become exceedingly close. These precautions were occasionally the source of great amusement to the two parties who were in the secret. Curiously enough, this closer association with my neighbour coincided with the time when I began to work out my libretto, Tristan und Isolde.