The Romance of Tristan and Iseult is an overall tragedy that incorporates several comedic scenes. The tragedy lies in the several sins these miserable lovers commit and culminates in their tragic end, while the comedy is recurrent in their ironic and ridiculous situations by which they escape harm and extend the narrative. These comedic subplots arise repeatedly throughout the account, and portray the wits of the lovers and the foolishness of the King through incessant use of humorous irony. Despite the narrative being rife with comedic elements, it is still an overall tragedy. As one analyzes the story as a whole, rather than the individual scenes, this becomes clearer. The narrator foreshadows their demise, they denounce all their adversities no matter how large, and in the end it is all for naught. Tristan and Iseult do not meet an idealistic end together, but rather die in a tragic outcome where their love doesn’t prevail. Thus, the structure of this tale supports the claim of tragedy encompassing the comedy.
From the moment Tristan and Iseult first fall in love with each other, the narrative establishes a tragedy by foreshadowing their tragic demise and suffering through the joy of being together. 

This explicit introduction of the miserable love paints the setting of a tragedy. Most blatantly, this testimonial by the narrator foreshadows the death of the two lovers, which is the main element in most tragedies. Furthermore, this predicts that their lives up to their deaths will not be serene but filled with “anguish,” which is understandable as Tristan is supposed to deliver Iseult to his uncle. Tristan immediately regrets his feelings after this and is tortured by the fact that he is coveting his uncle’s wife. Beyond that, the narrator says that Tristan and Iseult now share a “Passion and Joy most sharp,” meaning that even when they submit to their desires and are indulge in the intimate company of one another, they will never have ease of mind. Despite this they proceed with secret meetings and fall into and out of multiple comedic subplots.

This ridiculous display of innocence feigned by Tristan fits the criteria of a comedy. It is rather common for a character who has committed some wrong to feign innocence to escape the repercussions of his actions instead of taking responsibility for them. The fact that this ploy was successful praises the wit of Tristan, the protagonist. Having a cunning protagonist who outwits danger is a motif of comedies and is seen several times in this narrative. Finally this exasperated declaration seems to be mocking the king. It gives the connotation of arrogance as if Tristan is so confident in his ability to outwit Mark, that he is not at all afraid of the fact that he, Mark, is aiming a weapon at him. This scheme not only saves Tristan and Iseult from immediate danger but also allows them to continue their adulterous meets for a while.   
