n character it is dark-hued, forbidding,
sinister. As Golaud and Pelleas emerge from the vaults, much use is made
in the orchestra of a jubilant figure in triplets (first given out
_fortissimo_ by flutes and oboes, over an undulating accompaniment, on
page 152, measure 1) which seems to express a certain irresponsible
exuberance on the part of Pelleas; it accompanies his light-hearted
remarks about the odor of the flowers, the sheen of the water, and the
invigorating air, as they come out upon the sunlit terrace. As the scene
changes again, a very short interlude introduces a new theme--that of
Little Yniold, Golaud's son, whom he is to use as the innocent tool of
his suspicions. This motive, which occurs repeatedly during the ensuing
scene, is one of the less important, but most typical and haunting ones,
in the entire score. It is first presented (page 158, measure 4) by the
oboe, _doux et expressif_:

XVI. YNIOLD

[Illustration: _p doux et expressif_]

It is heard again as an accompaniment to Yniold's naive answers to
Golaud's interrogations (page 160); when he cries out that his father,
in his agitation, has hurt him (page 164); and, in a particularly
touching form, on page 165, measure 4, when Golaud promises that he will
give him a present on the morrow if Yniold will tell him what he knows
concerning Melisande and Pelleas. We hear the _Pelleas_ theme in the
strings and wood-wind (page 172, measure 7) when Yniold says that they
"weep always in the dark," and that "that makes one weep also," and
again when he tells of having seen them kiss one day--"when it rained."
Thereafter it is heard repeatedly in varying forms to the end of the
scene, at times underlying a persistent triplet-figure which has the
effect of an inverted pedal-point. A tumultuous and agitated _crescendo_
passage brings the act to a portentous close.

ACT IV

A variant of the _Pelleas_ theme, with the opening notes of the _Fate_
motive as an under voice, begins the short prelude to the fourth act;
there is a hint of the _Yniold_ theme, and the first two notes of the
_Pelleas_ motive introduce the first scene. The interview between
Melisande and her lover, in which they arrange their tryst at the
fountain in the park, is treated with restraint; an expressive phrase
sung by the 'cellos (page 194, measure 11) may be noted at the point
where Pelleas informs Melisande that she will look in vain for his
return after he has gone. The _Melis