evotion in fervor ecstatic,
And low to earth bow."

In his splendid epilogue the poet likens the hero to the mortal on whom
the god has set his mark. He sees himself bound living to the fatal
course of genius, the fiery steed.

"Away from the world--from all real existence
He is borne upwards, despite his resistance
On feet of steel.
He is taken o'er deserts, o'er mountains in legions,
Grey-hoary, thro' oceans, and into the regions
Far over the clouds;
A thousand base spirits his progress unshaken
Arouses, press round him and stare as they waken,
In insolent crowds

* * * * *

"He cries out with terror, in agony grasping,
Yet ever the mane of his Pegasus clasping,
They heavenward spring;
Each leap that he takes with fresh woe is attended;
He totters--falls lifeless--the struggle is ended--
And rises as King!"[A]

[Footnote A: The English verses are taken for the most part from the
translation of F. Corder.]

The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
the unbridled motion) grows

[Music: (In brass and strings with lower 8ve.)
(With constant clattering higher strings and
chord of low wind on the middle beat)]

more rapid into an _alla breve_ pace (in two beats), with dazzling maze
of lesser rhythms. Throughout the work a song of primeval strain
prevails. Here and there a tinge of foreshadowing pain appears, as the
song sounds on high, _espressivo dolente_. But the fervor and fury of
movement is undiminished. The brief touch of pathos soon merges in the
general heroic mood. Later, the whole motion ceases, "the horse sinks
and dies," and now an interlude sings a pure plaint (in the strain of
the main motive). Then, _Allegro_, the martial note clangs in stirring
trumpet and breaks into formal song of war, _Allegro marziale_.

[Music: (Brass and strings)
_Allegro marziale_
(With lower 8ve.)]

In the wake of this song, with a relentless trip and tramp of warrior
hordes, is the real clash and jingle of the battle, where the sparkling
thrill of strings and the saucy counter theme are strong elements in the
stirring beauty.

There is a touch here of the old Goth, or rather the Hun, nearer akin to
the composer's race.

At the height rings out the main tune of yore, transformed in triumphant
majesty.

The musical design embraces various phases. First is the cle