ntary. Beyond and above this it is an interpretation,
making vivid and awesome the deep import of the play, till even the
least imaginative auditor must feel its thrill.

Thus the gathering of the witches begins with a slow horror, which is
surely Shakespeare's idea, and not the comic-opera _can-can_ it is
frequently made. As various other elfs and terrors appear, they are
appropriately characterized in the music, which also adds mightily to
the terror of the murder scene. Throughout, the work is that of a
thinker. Like much of Kelley's other music, it is also the work of a
fearless and skilled programmatist, especially in the battle-scenes,
where it suggests the crash of maces and swords, and the blare of
horns, the galloping of horses, and the general din of huge battle.
Leading-motives are much used, too, with good effect and most
ingenious elaboration, notably the _Banquo_ motive. A certain amount
of Gaelic color also adds interest to the work, particularly a
stirring Gaelic march. The orchestration shows both scholarship and
daring.

An interesting subject is suggested by Kelley's experience in hunting
out a good motif for the galloping horses of "Macbeth." He could find
nothing suitably representative of storm-hoofed chargers till his
dreams came to the rescue with a genuinely inspired theme. Several
other exquisite ideas have come to him in his sleep in this way; one
of them is set down in the facsimile reproduced herewith. On one
occasion he even dreamed an original German poem and a fitting musical
setting.

Dr. Wm. A. Hammond, in his book on "Sleep and Its Derangements," is
inclined to scout the possibility of a really valuable inspiration in
sleep. He finds no satisfactory explanation for Tartini's famous
"Devil's Sonata" or Coleridge' proverbial "Kubla Khan." He takes
refuge in saying that at least the result could not be equal to the
dreamer's capabilities when awake; but Kelley's "Macbeth" music was
certainly an improvement on what he could invent out of the land of
Nod.

After composing a comic opera, which was refused by the man for whom
it was written because it was too good, he drifted into journalism,
and wrote reviews and critiques which show a very liberal mind capable
of appreciating things both modern and classic.

Kelley was again persuaded to write a comic opera to the artistic
libretto, "Puritania," by C.M.S. McLellan, a brilliant satirist,
who has since won fortune by his highly success