Wagner Operas and his musical philosophy of, worse than death, condemned to eternal longing

Death drive stands for the very opposite of the obscure tendency to self-annihilation or self-destruction - as is rendered clear in the work of Wagner whom Badiou admires so much. It is precisely the reference to Wagner which enables us to see how the Freudian death drive has nothing whatsoever to do with the craving for self-annihilation, for the return to the inorganic absence of any life-tension. 

Death drive does NOT reside in Wagner's heroes' longing to die, to find peace in death: it is, on the contrary, the very opposite of dying - a name for the "undead" eternal life itself, for the horrible fate of being caught in the endless repetitive cycle of wandering around in guilt and pain. 

The final passing-away of the Wagnerian hero (the death of the Dutchman, Wotan, Tristan, Amfortas) is therefore the moment of their liberation from the clutches of the death drive. Tristan in Act III is not desperate because of his fear of dying: what makes him desperate is that, without Isolde, he cannot die and is condemned to eternal longing - he anxiously awaits her arrival so as to be able to die. The prospect he dreads is not that of dying without Isolde (the standard complaint of a lover), but rather that of the endless life without her.