_Ardor_) grow increasingly insistent. They are
interrupted at Pelleas' words, "I see only the branches of the willow
drooping over the wall," by a rich passage for divided violins, violas,
and 'cellos (page 124, measure 3), and by a brief phrase to which
attention should be drawn because of its essentially Debussy-like
quality--the progression in the first measure of page 125 (scored for
violins and violas). Then suddenly Melisande's unloosed hair streams
down from the open window and envelops Pelleas, and we hear (a famous
passage) in the strings alone, _ff_, a precipitate descending series of
seventh-chords built on the familiar whole-tone scale which Debussy
finds so impelling (page 127, measure 1).

XIV

[Illustration: Animez toujours]

Then begins (page 128, measure 1) a delectable episode. Over a murmurous
accompanying figure given out by violas, 'cellos, harp, and horn, a
clarinet sings a variant of the _Melisande_ theme. The harmonic changes
are kaleidoscopic, the orchestral color of prismatic variety. The lovely
rhapsody over his beloved's

XV

[Illustration: Moins vite et passionnement contenu]

tresses which Maeterlinck puts into the mouth of Pelleas is exquisitely
enforced by the music. There is ravishing tenderness and beauty here,
and an intensity of expression as penetrating as it is restrained. As
Melisande's doves come from the tower and fly about the heads of the
lovers, we hear, tremolo in the strings, a variation of her motive.
Golaud enters by the winding stair, and the threatening phrase quoted as
Ex. XI is heard sombrely in the horns, bassoons, violas, and
'cellos--its derivation from Golaud's own theme (see Ex. VI) is here
apparent. The latter motive sounds, _p_, as he warns Melisande that she
will fall from the window if she leans so far out. It is followed by the
_Fate_ theme as he departs, laughing nervously. A short interlude is
evolved from the _Melisande_ theme (the _Pelleas_ motive forming a
counterpoint), and the _Fate_ and _Vengeance_ motives--the latter
outlined, over a roll of the timpani and a sustained chord in the horns
and wood-wind, by a muted trumpet, _pp_.

No new thematic matter is presented during the two succeeding scenes (in
the vaults under the castle and, afterward, on the terrace), nor are
there significant reminiscences of themes already brought forward. The
music of the vault scene forms a pointed commentary on the implications
of the action and dialogue--i