lins) above a soft murmuring of lower figures? It is
taken up

[Music: (Violins)
(Harp and wood doubled above)]

in a lower voice and rises to a height of inner throb rather than of
outer stress. The song departs as it came, through the tearful plaint of
double phrase. Bolder accents merge suddenly into the former impassioned
song. Here is the real sting of warrior call, with shaking brass and
rolling drum, in lengthened swing against other faster sounds,--a revel
of heroics, that at the end breaks afresh into the regular song.

Yet it is all more than mere battle-music. For here is a new passionate
vehemence, with loudest force of vibrant brass, of those dulcet strains
that preceded the queenly melody. An epic it is, at the least, of
ancient flavor, and the sweeter romance here rises to a tempest more
overpowering than martial tumult.

It is in the harking back to primal lore that we seem to feel true
passion at its best and purest, as somehow all truth of legend, proverb
and fable has come from those misty ages of the earth. The drooping
harmonies merge in the returning swing of the first solemn hymn,--a mere
line that is broken by a new tender appeal, that, rising to a moving
height,

[Music: (Strings)
_teneramente_]

yields to the former plaint (of throbbing thirds).

A longer elegy sings, with a fine poignancy, bold and new in the very
delicacy of texture, in the sharp impinging of these gentlest sounds. In
the depths of the dirge suddenly, though quietly, sounds the herald
melody high in the wood, with ever firmer cheer, soon in golden horns,
at last in impassioned strings, followed by the wistful motive.

A phase here begins as of dull foreboding, with a new figure stalking in
the depths and, above, a brief sigh in the wind. In the growing stress
these figures sing from opposite quarters, the sobbing phrase below,
when suddenly the queenly melody stills the tumult. It is answered by a
dim, slow line of the ominous motive. Quicker echoes of the earlier
despond still flit here and there, with gleams of joyous light. The
plaintive (dual) song returns and too the tender appeal, which with its
sweetness at last wakens the buoyant spirit of the virile theme.

And so pass again the earlier phases of resolution with the masterful
conclusion; the tearful accents; the brief verse of romance, and the
sweep of queenly figure, rising again to almost exultation. But here,
instead of tears and recoil, is the brief s