phrase gains a melodic cadence. But the main mood is a revel of gambols
and pranks of rhythm and harmony on the first phase.

In the middle is a sudden shift of major tone and intimate humor, to a
slower pace. With still a semblance of dance, a pensive melody sings in
the cellos; the graceful cadence is rehearsed in a choir

[Music: _Poco meno mosso_
(Strings)
(Cello)]

of woodwind, and the song is taken up by the whole chorus. As a pretty
counter-tune grows above, the melody sings below, with a blending of
lyric feeling and the charm of dance. At a climactic height the horns,
with clumsy grace, blare forth the main lilting phrase.

The song now wings along with quicker tripping counter-tunes that slowly
lure the first skipping tune back into the play after a prelude of high
festivity. New pranks appear,--as of dancing strings against a stride of
loud, muted horns. Then the second (pensive) melody returns, now above
the running counter-tune. At last, in faster gait, to the coursing of
quicker figures, the (second) melody rings out in choir of brass in
twice slower, stately pace. But the accompanying bustle is merely
heightened until all four horns are striking together the lyric song. At
the end is a final revel of the first dancing tune.

The Finale, which bears the unusual mark _Allegro con giubilio_, begins
with a big festive march that may seem to have an added flavor of old
English merrymaking. But as in the other cantos of the poem there

[Music: _Allegro con giubilio_
_Tutti_
(Basses in 8ve.)]

is here, too, an opposite figure and feeling. And the more joyous the
gaiety, the more sweetly wistful is the recoil. Nay there is in this
very expressive strain, beautifully woven in strings, harp, woodwind and
horns, a vein of regret that grows rather than lessens, whenever the
melody appears alone. It is like the memory, in the midst of festival,
of some blissful moment lost forever.

Indeed, the next phase seems very like a disordered chase of stray
memories; for here a line of martial air is displaced by a pensive
strain which in

[Music: (Cello and harp with harmony of wood, horns and strings)
_Piu tranquillo_
_Molto espress._]

turn yields to the quick, active tune that leads to a height of
celebration.

But here is a bewildering figure on the scene: Lustily the four horns
(helped by the strings) blow in slow notes against the continuing motive
an expressive melody. Slowly it breaks upon our ears