Daphne At this moment Apollo's attention becomes engaged, and he begins his own pursuit. Daphne, fleeing to escape Apollo's advances, prays to Zeus to help. Zeus turns her into laurel tree. Parthenius' modern editor remarks on the rather awkward transition, linking two narratives. "Why should she wish to escape? Because she is Artemis Daphnaia, the god's sister," observed the Freudian anthropologist Géza Róheim, and Joseph Fontenrose concurs; boldly stating such a one-to-one identity doubtless oversimplifies the picture: "the equation of Artemis and Daphne in the transformation myth itself clearly cannot work". The laurel became sacred to Apollo, and crowned the victors
The Wood Nymph the "erotic harmonic vocabulary" of "Tristan und Isolde" in the third section and the "motive of the forbidden question" from "Lohengrin" in the funereal march from the finale. In light of Sibelius's "Nietzschean response" to Wagner's operas (initially enamored, Sibelius by July 1894 had repudiated Wagner's ideas as "calculated" and "manufactured"), such observations are of particular interest in that they illustrate the extent to which Sibelius, at the time of "The Wood Nymph", had not yet succeeded in breaking with the German master. A few musicologists have speculated that "The Wood Nymph" is potentially autobiographical. Murtomäki, most notably, has argued