Palmyra to Antar are the
delights of vengeance.

III.--The second joy--the delights of power.

IV.--Antar has returned to the fallen remains of Palmyra. The third
and last gift granted by the fairy to Antar is the joy of true
love. Antar begs the fairy to take away his life as soon as she
perceives the least estrangement on his side, and she promises to
do his desire.

After a long time of mutual bliss the fairy perceives, one day,
that Antar is absent in spirit and is gazing into the distance.
Straightway, divining the reason, she passionately embraces him.
The fire of her love enflames Antar, and his heart is consumed
away.

Their lips meet in a last kiss and Antar dies in the arms of the
fairy.

The phases of the story are clear in the chain of musical scenes, of the
movements themselves and within them. In the opening Largo that recurs
in this movement between the visions and happenings, a melody appears
(in violas) that moves in all the

[Music: (Violas) _Largo_
(Woodwind)]

acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
and desolation.

The fairy theme is also unmistakable, that first plays in the flute,
against soft horns, _Allegro giocoso_,

[Music: (Flute) _Allegro giocoso_
(Horns) (Harp)]

and is lost in the onrushing attack, _furioso_, of a strain that begins
in murmuring of muted strings.

Other phrases are merely graphic or incidental. But the Antar motive is
throughout the central moving figure.

The scene of the desert returns at the end of the movement.

In the second (_Allegro_, rising to _Molto allegro_, returning
_allargando_) the Antar motive is seldom absent. The ending is in long
notes of solo oboe and first violins. There is no trace of the fairy
queen throughout the movement.

The third movement has phases of mighty action (as in the beginning,
_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
The Antar melody plays in the clangor of big climax in sonorous tones of
the low brass, against a quick martial phrase of trumpets and horns.
Again there is in this movement no sign of the fairy queen.

In the fourth movement, after a prelude, _Allegretto vivace_, with light
trip of high flutes, a melody, of actual Arab origin, sings _Andante
amoroso_ in the

[Music: (Arabian melody)
_Andante amoroso_
(Eng. horn)
(Bassoon)]

English horn, and continues almost to the