Find a potion for Tidus Game Information: I must find a potion to cure Tidus, one of the plague victims in the quarantined area in the poor quarter. How to obtain: Talk to Tidus. Give one of the potions to Tidus, and give another to any of the other victims. Find a solution to the plaque problem in Rivertown Game Information: A young knight called Seth told me that people are dying because of a mysterious plague in Rivertown. I must try to find a cure for the plague before it spreads to other towns within the Dukedom.
How to obtain: Talk to Seth. He is located just outside the gates of Aleroth. Talk to Mardaneus. After he refuses, talk to Seth again. An escort for the healers Game Information: The healers are needed in Rivertown to help combat the plaque, but the woods around Aleroth are swarming with Orc raiding parties.
The healers refuse to travel to Rivertown because of this danger. I need to get to the army commander and ask him to dispatch an escort. Solution: Talk to General Alix.
She is located in her army barracks. After solving 'Who is responsible for the harvest disaster? Find clues about wares Game Information: Merchant Marcus is interested in getting information about his lost wares. How to obtain: Talk to Marcus after finding the burning cart. Solution: Talk to Marcus after exploring the cave. Find my equipment in Iona's Dungeon Game Information: Arhu has shown me where Iona has stored the equipment she stole from me.
How to obtain: Go up the stairs from the starting point. Arhu will start a conversation. Solution: Get the key from atop the barrels in the room in the center of the area. Use the key to unlock the chest. If I ever meet him, I will tell him his brother sends his best wishes. How to obtain: Talk to Strobur. He is in the Dwarven Hall. His house is located south of the forge. Solution: Talk to Rimmer. He is in the Dwarven village north of the teleporter.
Find the password to the treasure room Game Information: I require a password to enter the Stormfist Castle treasure room. A talking door refuses me entry without the proper password.
How to obtain: Exploring the treasure area of Stormfist Castle. You get to it from the Rivertown sewers. You'll eventually come across an odd door. Find Zandalor. He is somewhere in the treasure area of Stormfist Castle.
Clearly the door has been built by the ancient forces of evil. Solution: Talk to the door. Find the second teleporter pyramid Game Information: Lanilor gave me a magical object which looks like a tiny pyramid. He told me that a duplicate exists and that the pair could be used for teleportation. If I used the pyramid, I might have a chance to acquire the duplicate too. I might also end up dead. How to obtain: Lanilor approaches after you open up the catacombs.
Solution: Drop the pyramid on the ground, and then click on it. It will teleport you to the other one. To get back to the town, leave the room you teleported into, and go up the hall. Use the portal stone to teleport yourself into the well. OR Explore the catacombs until you find the other pyramid. To arrest Tingalf, the authorities have to know more about his suppliers.
How to obtain: Talk to Lieutenant Robin. He is located in the north west corner of the Merchant's area. He is in between the houses of Blake and Kistanalius. Before we leave, however, he wants me to find out what happened to the Sword of Lies. How to obtain: Talk to Zandalor. You'll find him in the treasure room of Stormfist Castle. You can enter the Treasure rooms from the Rivertown sewers. Unlock the door to the treasure room behind the odd door.
You unlock it by giving it the correct password. Explore the room. The Sword of Lies is gone! Game Information: I must report this to Zandalor immediately!
The Sword of Lies has been taken! Solution: Talk to Zandalor. Find the teleporter activation scrolls Game Information: Zandalor has given me the activation scroll for the mage's teleporter. He believes the Elven Lord Elredor can help me obtain the elves' teleporter scroll. Elredor can often be found in the Archer's Guild.
Zandalor also suggested looking for further information in the Cursed Abbey. How to obtain: Zandalor shows up after the dragon rider 'kills' you.
He then gives you the scroll and the quest. Solution: Go to the Archers' Guild. Talk to the guild master I forgot his name. He will give it to you. Find the truth about Tingalf Game Information: Trevor believes Tingalf is selling wares under the counter and without a license from the Merchant's Guild.
He sends me to the Rivertown Market to find proof of it. Solution: Go into the Rivertown sewers. Kill the thieves and take the letter.
The thieves are located to the right of the entrance. Afterwards, go back and talk to Trevor. It appears he too is waiting for Zandalor. Zandalor told him that he was going to go to Stormfist castle to find the other Marked One. I am unwilling to wait for his return so I will go to the castle to find them both! How to obtain: Talk to Wouter. He is inside the Dwarven Bread Inn. Solution: Zandalor is in the treasure area of Stormfist Castle. You can gain entrance through the Rivertown sewers.
Fireworks Game Information: Anthrabent has asked me to set the cart f the trader Mpenzak on fire. I could do it using the lamp on the cart. I should perform the task while Mpenzak is busy drinking a beer in the Ducal Inn. Solution: Go to the cart marked on the map. Click on the lamp. Talk to Anthrabert. Free the hostages Game Information: A small boy has told me that a gang of brutal thieves entered the house of his parents and locked them in the bedroom.
Entering the house through the front door might not be a good tactic. How to obtain: The boy approaches along the road heading south towards the Archer's Guild.
Solution: Go to the house, it is marked on your map. Use the 'alt' key to kind a door behind the house leading to the bedroom. Use lockpick to open the door. Free the people and take the key. Use the key to unlock the door leading to the thieves. Kill the thieves. Go to the Archer's Guild and talk to Arnie.
He is near the entrance. Gareth's Feign Death potion Game Information: Gareth, a soldier, has asked me to be on the look out for a potion that will allow him to feign death. He wants to use it to escape the army. How to obtain: Talk to Gareth.
He is located in front of the southwest building inside General Alix's army barracks. Then go and talk to Gareth in Captain Alix's barracks. George Murdered! Game Information: George has been killed! No money or goods are stolen! Still, I am of a mind that George's murder is somehow connected to the mysterious merchant who argued with George in his store.
Perhaps the other healers can tell me more. How to obtain: Enter George's house after restoring Mardaneus' sanity. He is located in his house. Expose George's murderer Game Information: The healers are unaware who might be the killer. Mardaneus has asked me to investigate the crime and keep him informed. Solution: Kill the vampire under Pierce's Wine Barrel. It is located north of the Ducal Inn, which is in Verdistis.
Afterwards go back to Aleroth and talk to Mardaneus. Apparently, he believes Shrimpo is somewhere near the graveyard area. How to obtain: Apollo approaches when you leave the graveyard. The graveyard is located northeast of the Cursed Abbey. Solution: Go to the group of tombstones located to the northeast of the chapel where the Duke is. The group of tombstones has three trees and a couple of boulders in it. Click on the tombstones to reveal the names on them. Each name starts with a letter of Shrimpo's name.
Click on the tombstones, starting with 'S' and go clockwise to spell out 'Shrimpo'. When Shrimpo comes out, kill him you won't have much choice. After you kill him, Apollo approaches and talks to you. Help a scared knight Game information: A knight is hiding in one of the nearby stables. An assassin who seems to be nearby is hunting him.
I promised to see if I could find this would-be murderer to give him a taste of his own medicine. How to obtain: Talk to the knight I didn't get his name. He is located in the western most building in the farmlands. Solution: Kill Crawler. He is located in the orchard. Afterwards, talk to the knight again. Help the cook Game Information: The cook of Stormfist castle has asked me to help him with the dishes. What an irony: the hero reduced to a dishwasher! How to obtain: After getting into Stormfist castle, talk to the cook.
He is located in the southeastern room of the castle. Solution: Move the bucket with water to the dish pan. Then move the pile of dishes to the dishpan. Keep moving the dish pile until all the dishes are clean. After you leave the castle, the quest will be solved. I think it has a small bug in it. To move the dishes, you can put them into your inventory OR left click on them, hold down the button and move them.
Isoldes' love letter Game Information: The milkmaid, Isolde, has asked me to deliver a love letter to her loved one in the barracks. His name is Gareth. How to obtain: Talk to Isolde.
She is located outside the building east of the bridge in the farmlands. Solution: Talk to Gareth. Kidnapped by a zombie Game Information: Upon entering a graveyard, I saw a woman being kidnapped by what appeared to be a zombie. I must rescue her! How to obtain: Enter the graveyard south of the quarantine area. Solution: In the center of the graveyard there are four pits.
Enter one of them. Kill a bunch of zombies I think. Kill Stalker Game Information: A hermit has asked me to kill a dangerous monster in its lair, which lies south-west from here. How to obtain: Talk to the hermit of the Dark Forest. Follow the road southwest until you find his house. Soltuion: Explore the cave marked on map. Kill Stalker. Kill the vampire Game Information: I was able to save the boy, but the case is still open.
AS long as the vampire lives, the people in Rivertown are in danger. Finally she comes, but he dies at the instant she appears. Then, in this highly dramatic scene, a second ship appears. King Marke, who has been informed by Brangaene of the love potion and therefore of the innocence of the lovers, has come to forgive them and to unite them.
But, transformed in the consciousness of her love, Isolde dies next to Tristan. Thus he makes two drinks out of the love and death potion, which does not make sense because, as Tristan says, with their love, he and Isolde, have also drunk death.
There the two were simply thirsty; in absence of Brangaene, a young maid is looking for something drinkable and finds a vessel with cool wine, which, in reality, is the love and death potion. She needs to think of the oath. But this episode is of significance because it shows how the love and death potion takes three years to be effective.
In the old versions, Isolde, the queen, returns to King Marke after those three years and Tristan seeks to go out to prove himself as a knight, which was common in those days. So, they return to the world after three years.
This circumstance, which Wagner omits, is of enormous significance because the two Isoldes symbolize Eros and Agape, the divine and the worldly love, the soul and mortal human as they exist in this world. However, Tristan neither touches his wife on their wedding night, nor at any time later, because he has sworn never to love another than his Isolde the blond, his anima, his soul.
Tristan was born at Lohnois in Brittany. His parents die after his birth. Riwalin and Branchefleur, the two poles of one duality, cease to exist as a duality as they bring a child into the world. This child, Tristan, is placed into the world of the finite in a state of bereavement. From old versions we learn that Norse pirates abducted him out to sea.
As a result of a storm he gains freedom and lands on the Cornish coast, where fisher folk take him to King Marke. Then Tristan does the only right thing. He lands on unknown shores in Ireland, the isle of the feminine. In those days Ireland was the unknown, the Island of Utopia.
Today we have to look for utopia in the universe, in the future, in parallel worlds, or in our inner self with its countless levels of consciousness. Tristan symbolically weighs anchor, hoists the sails, and goes to sea in search for his soul. Like travelers in all utopian novels, he becomes shipwrecked. Here the potion stands for the shipwreck, for the paradigm, or the change of levels within the consciousness, respectively. Tristan leaves the familiar fields of the ego and seeks the unknown.
The ego is thus submerged. Because of the intrusion of the transcendent into the immanent, the numinous into the human, life gains a purpose. The passage from Yang Tintagel to Yin Ireland happens in a fraction of a second. The sterility of life within the bounds of the ego-island comes to an end. No longer are masculine pastimes the order of the day, but the affairs of the soul.
The soul is symbolic of the female principle. The religious ecstasy, the otherworldly intensity of the Eros, also called romantic love, makes life worth living. But the potion has yet another meaning, one which is typical for the Christian Occident.
I will return to this subject later. This going beyond the ego-consciousness, this submerging into the waves of the subconscious, happens in the Occident through the idealizing projection of the anima, or the animus, unto another human being.
The divine, without substance on this plane, still chaotic, in the Occident has to take shape, has to manifest itself so we may experience it. But the home of Eros is the infinity of the un-manifested, the space-less, the eternal. This is the reason why we humans of the Occident, who are caught in the duality of our existence, find this form of love so unspeakably painful.
The mirrors are like the projections of our self. They reflect our own image ad infinitum and nothing else. In this infinity, and thus in this eternity, we are no longer of this world, though still caught in our earthly existence. When two mirrors look at one another, then Satan plays his favorite trick and opens here in his way The perspective into the infinite. This is why Tristan, after the three years in the forest, feeds his passion by repeated journeys to Isolde, and Isolde on her part, keeps this cosmic, intensive drama alive, which makes possible her admission into the enchanted garden.
My suffering is different from everything; Because it is comfort and joy to me; My suffering is what I wish for, And my pain is my sanity! I cannot understand why I complain, For my suffering comes to me because I desire it. It is my own wish that turns into my suffering I get so much joy from this wish, That I suffer quite comfortably, And so much gladness from my pain, That I am sick with joy.
Denis de Rougemont shows how Eastern religions, which teach becoming one with the Divine through asceticism, meditation, and other exercises as the highest goal, do not know romantic love. Where God or the highest principle is good and the world, as in the dualistic religions Manichaeism, Gnosticism, Catharism , is bad, there can be neither Eros nor Agape because our human neighbors, as part of the world, cannot be worth our attention.
With the God of the New Testament, humans become the smiths of their own destiny. But Zen has recognized this as well. The death of Christ on the cross, for the Occident, means the salvation of humanity and of creation, i. So you didn't build the bridge, you were merely stopped from robbing travelers? My heart bleeds for you. Go find a better trade, ugly! You know very well that you had no right to take a bridge toll.
You stupid as mudfish! Kill you now! Take coins from your chewed bones! We shall see who is the mighty one The room filled with growls. To my horror, I realized that what I had mistaken for irregular walls was in fact a large number of trolls standing very still.
If you were hugging the left side, you might even have found it before the bridge, and figuring it was safe enough, you went in. That is a BIG mistake if you aren't prepared. The Troll King is level 19 and has almost HP.
But that is not the worst part. The Troll King knows the Limbs of Lead spell. That spell can't be resisted and it completely cripples your movement speed, leaving you easy prey for the horde of trolls, you'll basically run in place while they wail on you. There are a couple other Troll Kings in the game, but this one is the most dangerous because of the confined space and ample reinforcements. He's also the only one who talks.
You have a few different dialogue options, but they all end up in combat. The top-tier "Die, Scum! The other chests contain random loot or nothing, only the gold is guaranteed. Sometimes you don't get the opportunity to ask for a reward, and in this case, you don't get the opportunity to NOT demand a reward! That's OK, you get no reward or XP anyway. In Wagner sat down and penned a letter to Schopenhauer, which he never completed or mailed.
In this letter, Wagner attempts, with due deference, to refute Schopenhauer on the problematic issue of the suicide of frustrated lovers.
Schopenhauer had expressed astonishment at the stupidity of such people who throw away the only life they can possibly enjoy, in the vain hope of a chimerical future bliss in mutual destruction.
Wagner retorts:. I am eager to presume that you really have found no explanation for this, so that, as I flatter myself with having a connection to this subject, I may share with you an intuition, in which a healing path in the matter of sexual love presents itself to me, a path to self-knowledge and denial of the will, and indeed not merely of the individual will. You alone give me the substance of the concepts through which my intuition is expressible philosophically, and if I attempt to make myself clear, it is only by trusting in what I have learned from you.
If I succeed in explaining your case of mutual suicide only by way of digression, you may attribute that to lack of practice, and perhaps lack of dialectical ability. I begin in particular with an account of the highest and most perfect appearance of what I mean by the denial of the will.
The case of mutual suicide I can account only as an imperfect and lower grade of this. Here of course Wagner is referring to the Liebestod, the redemptive cure for all that ails humankind.
The point, at this point, is only that, for Wagner, the wild metaphysical adumbrations of Tristan and Isolde were more than mere artistic devices to enrich a melodramatic musical spectacle. The metaphysics beneath this opera, and in fact all his operas, was deeply personal to him. He often spoke of suffering the sufferings of his characters. He spoke of repeatedly breaking down in bouts of weeping during the composition of Tristan. And, as his letter to Liszt reveals and as is documented in the painful passages of his life, he experienced every facet of Day's delusions and of the will's torments, and desired nothing more than to dismount the wheel of Ixion.
Thus far I have been working to outline points of agreement and divergence between Wagner and Schopenhauer within the metaphysical framework of Tristan and Isolde. I have suggested two points of contention: 1 the motivating power of erotic love as selfish, blind and solitary Schopenhauer or as a selfless, other-directed awareness Wagner ; 2 the outcome of erotic love as mere sensual satiety followed inevitably by disappointment and disillusion Schopenhauer or as the conscious merging of two selves into a single point of ego-less mutual recognition Wagner.
There is another element in the Tristan metaphysics that we need to elaborate, before we address the final question of Wagner's understanding of the idea of redemption. In , the year before his death, Wagner remarked that his opera Tristan and Isolde was "the greatest of tragedies".
In Tristan's premature death, and Isolde's climactic love-death, nature was "thwarted in its highest task". In spite of the ecstatic reunion of the lovers in death, something fundamental had not been achieved. Wagner explained that nature itself constantly seeks out love, for only in love can it "produce something great and redemptive". It is not enough then, for Wagner, that his lovers find personal redemption through an erotic yet selfless strenuousness that obliterates the weight of the will.
It is of the utmost importance that in the very redemption achieved by the lovers through death, something new and greater is created. Mere oblivion, even blissful, love-filled oblivion, is not sufficient. In their redemption in death, the lovers must merge to become a new and more wonderful thing. Wagner, we may imagine, will again have sought validation from the Master for the adoption of this generative aspect of redemption. As it happens, there is an enigmatic passage in Schopenhauer's The World as Will and Idea in which he expounds on a peculiar metaphysical implication of his theory of the will, and it relates to Wagner's concern.
Here is what Schopenhauer says I have truncated the text :. The will to live desires to objectify itself in a perfectly definite individual, which can only be produced by this father with this mother.
This metaphysical desire of the will has no other sphere of action than the hearts of the future parents, which accordingly are seized with this ardent longing, and now imagine themselves to desire on their own account what really has only a purely metaphysical end, i. Thus it is the ardent longing of the future individual to enter existence which has first become possible here, a longing which proceeds from the lofty passion of the future parents for each other Schopenhauer seems to suggest, darkly, that the will itself, through the agency of the erotic passions of the man and the woman, aims at the creation of a future individual which pre-exists as a metaphysical seed in the womb of the will itself, and which ardently longs for its own future existence.
Whether Wagner took note of this sibylline utterance is unknown. In any event, we have already noticed another remarkable passage in which Schopenhauer speaks of the condition of the redeemed individual sublimated into the ego-less point: "We can only describe it as that which is free to be will-to-live or not. Recall that the character of Siegfried was to be the first of a new species of human being, a creature free from the bondage of the universal lust for power here read the bondage of the will , and thus free to challenge the gods themselves for supremacy of the world.
Wotan must contrive to create this new creature without saddling him with the mortal stain of subservience to his own divine providence. Siegfried can come into existence only through the love of two individuals, Siegmund and Sieglinde, who defy Wotan's commands, abjure all worldy strivings and cast themselves willingly into death in order to consummate their love.
The metaphysically necessary becomes the psychologically inexhorable. Siegfried is the product of that human redemption through love, the new creature who is free not to be the will to live, free to live a life untethered from the bondage of the will.
Yet the deeper puzzle remains. In spite of all of Wagner's artistic toils in Tristan , the meaning of redemption, the need for redemption, is still unexplained. What is it about the human condition, as Wagner perceived it, that cries out for this elemental healing? What is so broken, wounded, damaged, about the world, about humanity itself, which only the most extreme sacrifice of determined lovers can overcome?
Wagner's personal life was a testament to the experience of erotic love as the source of deepest human anguish and despair, as well as the most intense sensual joy. He also knew the ennobling, purifying joy of the chaste love between brother and sister, friend and friend. This tension between the vile, debasing, merely sensuous aspect of love, and its salvific, healing potential in selfless devotion, was the demon that haunted Wagner all his life.
As he matured as an artist and expanded his philosophical base, he adopted different artistic and theoretical strategies to confront the demon. But even in his earliest works, we see one thing clearly: Wagner felt a profound need to disburden the human spirit of the unclean, destructive element in the erotic impulse.
This release from the original sin of the sexual drive Wagner would eventually label "redemption". Until very near the end of his artistic life until, that is, Parsifal appeared , Wagner imagined death as the sole adequate purgative of the bondage of desire: death as liberation. Wagner was all of fifteen when he completed his first play and indeed his first extant work Leubald. This lurid drama is saturated with lasciviousness, pregnancy, rape, adultery, incest, multiple murders including patricide, witches, and madness.
We also witness a fatal, forbidden love affair between a brother, the hero Leubald, and his too-late-recognized sister, Adelaide. Listen to the blood-chilling curse that Adelaide's dying father heaps on her head: her "appalling love", he screams, was "pimped by devilish cunning, given suck by a salamander bloated with venom, concealed beneath a dragon's scaly wings and, filled with poisonous vermin, her gravid body swelled by a scorpion's hideous brood". As one critic has delicately noted, "Such biblical hyperbole suggests that the relationship between Leubald and Adelaide has transgressed the bounds of normalcy.
The morning sun rises above them in a gesture of reconciliation. The play ends with voices that hint at the nascent union of the lovers in a better, purified existence: "Bring them to bed!
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