acclaimed. In a middle episode the motive of the cadence sings
expressively with delicate harmonies, rising to full-blown exaltation.
We may see here an actual brief celebration, such as Tasso did receive
on entering Ferrara.

And here is a sudden fanciful turn. A festive dance strikes a tuneful
trip,--a menuet it surely is, with all the ancient festal charm, vibrant
with tune and spring, though still we do not escape the source of the
first pervading theme. Out of the midst of the dance sings slyly an
enchanting phrase, much like a secret love-romance. Now to the light
continuing dance is joined a strange companion,--the heroic melody in
its earlier majestic pace. Is it the poet in serious meditation at the
feast apart from the joyous abandon, or do we see him laurel-crowned, a
centre of the festival, while the gay dancers flit about him in homage?

More and more brilliant grows the scene, though ever with the dominant
grave figure. With sudden stroke as of fatal blast returns the earlier
fierce burst of revolt, rising to agitation of the former lament,
blending both moods and motives, and ending with a broader stress of the
first tragic motto.

Now, _Allegro con brio_, with herald calls of the brass and fanfare of
running strings (drawn from the personal theme), in bright major the
whole song bursts forth in brilliant gladness. At the height the
exaltation finds vent in a peal of simple melody. The "triumph" follows
in broadest, royal pace of the main song in the wind, while the strings
are madly coursing and the basses reiterate the transformed motive of
the cadence. The end is a revel of jubilation.