ogressions, based on the Dorian mode of the
plain-chant (corresponding to a scale of D-minor without accidentals), I
have alluded to in a previous chapter.

[7] These indications refer to the arrangement of the score for voices
and piano, with French and English text, published by A. Durand & Fils
of Paris in 1907. I have indicated in each case, in addition to the
page, the measure in which the example begins.

I. THE FOREST [Illustration: Tres modere]

This is immediately followed by one of the most important themes in the
opera, that which seems to typify the veiled and overshadowing destiny
which is very close to the central thought of Maeterlinck's play.
Strangely harmonized, this _Fate_ theme (it is in the second measure
that its kernel is contained, and it is this portion of it that is most
frequently repeated) is sounded, _pp, tres modere_, by oboes, English
horn, and clarinets (page 1, measure 5):

II. FATE

[Illustration]

These two themes are repeated, with altered harmonization; then follows
one of the two principal themes of the score--that of _Melisande_, sung,
_doux et expressif_, by the oboe over tremolos in the divided strings
(page 1, measure 14):

III. MELISANDE

[Illustration: _p doux et expressif_]

It is followed by a derivative theme which, in the drama, suggests the
naivete of Melisande's personality (page 1, measure 1):

IV. MELISANDE'S NAIVETE [Illustration]

Flute, oboe and clarinet repeat it over a counterpoint formed by the
_Fate_ theme (2 horns), and the curtain opens to the accompaniment of
the _Forest_ motive. This latter theme, with the motive of _Fate_,
underscores the earlier portions of the dialogue between Golaud and
Melisande. At Golaud's words: "Oh! you are beautiful!" we hear (page 7,
measure 1) an ardent phrase in the strings expressive of his awakened
passion for the distressful little princess:

V. GOLAUD'S LOVE

[Illustration: Animee]

This theme is sounded again, with peculiarly penetrating effect, in the
divided strings, as Golaud entreats Melisande not "to weep so" (page 9,
measure 4), and, later in the scene (page 19, measure 1), when he tells
her that she must not stay in the forest alone after nightfall, and
urges her to go with him. As he informs her that he is "Prince Golaud,
grandson of Arkel, the aged king of Allemonde," we hear, on the bassoons
and horns, his own motive (page 14, measure 8):

VI. GOLAUD

[Illustration: Tres soutenu