bject, the stories themselves, there is a luxuriant imagery, but no
sign of the element of reflection or even of emotion.

_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
have called it the Sindbad motive. But in essence these are not very
different. The Sea is here the very feeling and type of adventure,--nay,
Adventure itself. It is a necessary part of fairy stories. Here it
begins and ends with its rocking theme, ever moving onward. It comes in
the story of the Prince Kalender.

The second of the main phrases is evidently the motive of the fairy tale
itself, the feeling of "once upon a time," the idea of story, that leads
us to the events themselves. It is a mere strumming of chords of the
harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
is the type of event, of happenings, of the adventure itself. So the
formless phrase is the introduction, the narrator, _Maerchen_ in an
Oriental dress as Scherezade.

The first number passes for the most part in a rocking of the motive of
the sea, in various moods and movements: _Largo e maestoso, Allegro non
troppo,--tranquillo_. At one time even the theme of the story sings to
the swaying of the sea.[A]

[Footnote A: We remember how Sindbad was tempted after each fortunate
escape from terrible dangers to embark once more, and how he tells the
story of the seven voyages on seven successive days, amid luxury and
feasting.]

_II._--In the tale of the Prince Kalender Scherezade, of course, begins
the story as usual. But the main thread is in itself another interwoven
tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
There is most of happenings here. A very strident phrase that plays in
the brass _Allegro molto_, may be some hobgoblin, or rather an evil
jinn, that holds the princess captive and wrecks the hero's vessel. The
sea, too, plays a tempestuous part at the same time with the impish
mischief of the jinn.

[Footnote A: In the old version the word "Calender" is used; in the new
translation by Lane we read of "The Three Royal Mendicants." In certain
ancient editions they are called "Karendelees,"--i.e., "miserable
beggars." Each of the three had lost an eye in the course of his
misfortunes. The story (of the Third Kalender) begins with the wreck of
the prince's vessel on the mountain of loadstone and the feat of the
prince, who shoots the