seem as if Beethoven were storming the very heavens.
Here occurs the quotation from the preceding Scherzo which binds the
movements together and serves as a point of departure for a still
greater climax. It seems unreasonable to expect a higher flight, but
the genius of Beethoven is equal to the effort. If, before, we have
reached the heavens, now we pierce them. The brilliant Coda--note the
ascending runs for the piccolo--is in three sections, the first based
on the subsidiary theme, _e.g._,

[Music]

the second on the closing theme in quickened tempo, _e.g._,

[Music[B]]

and the third, a canonic treatment of the opening fanfare, _e.g._,

[Music]

in which the orchestra seems to tumble head over heels in a paroxysm
of delight. The movement closes with prolonged shouts of victory and
exultation.[162]

[Footnote 157: Taken separately, the movements are perfectly normal;
the Scherzo in the usual Three-part form and the Finale in complete
Sonata-form.]

[Footnote 158: There are traces of this striving for organic unity in
several of the early Sonatas, notably in the _Sonata Pathetique_,
where the motive of the first theme of the Finale is identical with
that of the second theme of the opening movement _e.g._

[Music: 1st Movement]

[Music: Finale]

Also in the C-sharp minor Sonata, op. 27, we find a case of melodic
relationship between a phase in the introductory meditation and the
main theme of the Minuet.]

[Footnote 159: A Symphonic Poem is a descriptive composition for
orchestra which incorporates many of the customary symphonic moods;
but the form is free, largely dependent on the poetic basis, and the
structure is without stops, being one continuous whole.]

[Footnote 160: His exact words are--"Le milieu (the trio) ressemble
assez aux ebats d'un elephant en gaiete--mais le monstre s'eloigne et
le bruit de sa folle course se perd graduellement."]

[Footnote 161: Its motto might well be Browning's famous lines: "How
good is man's life, how fit to employ all the heart and the soul and
the senses forever in joy."]

[Footnote B: This pianoforte figure being a very inadequate substitute
for the restless tremolo of the violas, _i.e._, [Music].]

[Footnote 162: For suggestive comments by the noted critic E.T.A.
Hoffmann, one of the first to realize the genius of Beethoven, and for
a complete translation of his essay on the Fifth Symphony see the
article by A.W. Locke in the Musical Quarterly for Januar