efrain characteristic of the rondo form
because of its compactness. Here it is:

[Sidenote: _A Rondo pattern in poetry._]

"A pitcher of mignonette
In a tenement's highest casement:
Queer sort of a flower-pot--yet
That pitcher of mignonette
Is a garden in heaven set,
To the little sick child in the basement--
The pitcher of mignonette,
In the tenement's highest casement."

[Sidenote: _Other forms for the Finale._]

If now the first two lines of this poem, which compose its refrain, be
permitted to stand as the principal theme of a musical piece, we have
in Mr. Bunner's triolet a rondo _in nuce_. There is in it a threefold
exposition of the theme alternating with episodic matter. Another form
for the finale is that of the first movement (the Sonata form), and
still another, the theme and variations. Beethoven chose the latter
for his "Eroica," and the choral close of his Ninth, Dvorak, for his
symphony in G major, and Brahms for his in E minor.

[Sidenote: _Organic Unities._]

[Sidenote: _How enforced._]

[Sidenote: _Berlioz's "idee fixe."_]

[Sidenote: _Recapitulation of themes._]

I am attempting nothing more than a characterization of the symphony,
and the forms with which I associated it at the outset, which shall
help the untrained listener to comprehend them as unities despite the
fact that to the careless hearer they present themselves as groups of
pieces each one of which is complete in itself and has no connection
with its fellows. The desire of composers to have their symphonies
accepted as unities instead of compages of unrelated pieces has led to
the adoption of various devices designed to force the bond of union
upon the attention of the hearer. Thus Beethoven in his symphony in C
minor not only connects the third and fourth movements but also
introduces a reminiscence of the former into the midst of the latter;
Berlioz in his "Symphonie Fantastique," which is written to what may
be called a dramatic scheme, makes use of a melody which he calls
"_l'idee fixe_," and has it recur in each of the four movements as an
episode. This, however, is frankly a symphony with programme, and
ought not to be treated as a modification of the pure form. Dvorak in
his symphony entitled "From the New World," in which he has striven to
give expression to the American spirit, quotes the first period of his
principal subject in all the subsequent movements, and then
sententio