f the music is sharply altered. There is a harsh and sinister
muttering in the double-basses as Pelleas, startled by a distant sound,
cries that they are closing the gates of the castle, and that they are
shut out. The _Golaud_ motive is recalled with sombre force in the
strings as the rattle of the great chains is heard. "All the better! All
the better!" cries Melisande; and, as they embrace in sudden
abandonment, we hear, introduced by an exquisite interplay of
tonalities, the motive of _Rapture_, announced, _pp_, by divided strings
and flutes (page 258, measure 12):

XXI. RAPTURE

[Illustration: Modere]

As Melisande whispers suddenly to Pelleas that there is some one behind
them, a menacing version of the _Vengeance_ theme is played, _pp_, by
the basses, trombones, and timpani. This theme and that of _Rapture_
hasten the music toward its culminating point of intensity. The
_Pelleas_ theme is given out by the 'cellos, the _Melisande_ theme (this
is not indicated in the piano version) by the violins, and as the lovers
embrace desperately, a _crescendo_ leads to a _fortissimo_ proclamation,
by all the orchestral forces, of a greatly broadened version of the
motive of _Ecstasy_. As Golaud rushes upon them and strikes down
Pelleas, the _Fate_ theme is declaimed by four horns in unison over
string tremolos; and, as he turns and silently pursues the fleeing
Melisande through the forest, his _Vengeance_ theme brings the act, by a
rapid _crescendo_, to a crashing close.

ACT V

The last act opens with a dolorous phrase derived from the variant of
the _Melisande_ theme noted on page 82 of the piano score. It is played
by the violas, with harp accompaniment. The violins repeat it, and two
flutes announce a new theme (page 268, measure 5), the motive of
_Pity_:

XXII. PITY

[Illustration: Lent et triste]

As Golaud bends with Arkel over the unconscious figure of Melisande
where she lies stretched upon her bed, muted horns and 'cellos play a
gentle variant of the _Fate_ theme, followed by the _Melisande_ motive
as Golaud exclaims that they had but "kissed like little children." The
theme of _Pity_ accompanies Melisande's awakening, and a new motive is
heard as she responds, to Arkel's question: "I have never been better."
This new theme (page 274, measure 4), of extraordinary poignancy, is
given out by an oboe supported by two flutes, and its expression is
marked _triste et tres doucement expressif_. I shall