the hue of meditation is not entirely banned.

[Footnote A: In unison of the wind. Berlioz has here noted in the score
"_Réunion des deux Thémes, du Larghetto et de L'Allegro_," the second
and first of our cited phrases.]

The Shakespearian love-drama thus far seems to be celebrated in the
manner of a French romance. After all, the treatment remains scenic in
the main; the feeling is diluted, as it were, not intensified by the
music.

The stillness of night and the shimmering moonlight are in the delicate
harmonies of (_Allegretto_) strings. A lusty song of departing revellers
breaks upon the scene. The former distant sounds of feast are now near
and clear in actual words.

[Music: _Adagio_
(Muted strings)
(_Pizz._ basses an 8ve. lower)]

There is an intimate charm, a true glamor of love-idyll about the
Adagio. On more eager pulse rises a languorous strain of horn and
cellos. The flow

[Music: (Horn and cellos with murmuring strings)]

of its passionate phrase reaches the climax of prologue where, the type
and essence of the story, it plays about the lovers' first meeting. As
lower strings hum the burden of desire, higher wood add touches of
ecstasy, the melting violins sing the wooing song, and all break into an