trait of poise that saved him from losing the music in the picture. His
symphonic poems must be enjoyed in a kind of musical revery upon the
poetic subject. He disdained the rude graphic stroke, and used dramatic
means only where a musical charm was commingled.]

As the dream sinks slowly away, the stern motto is buried in quick
flashes of the tempting call. These are mere visions; now comes the
scene itself of temptation.

To ripples of harp the reed sings enchantingly in swaying rhythm; other
groups in new surprise of

[Music: (Flutes, oboe, clarinets and harp)]

scene usurp the melody with the languishing answer, until one Siren
breaks into an impassioned burst, while her sisters hold the dance.

Straight upon her vanished echoes shrieks the shrill pipe of war, with
trembling drum. We hear a yearning sigh of the Siren strain before it is
swept away in the tide and tumult of strife. Beneath the whirl and
motion, the flash and crash of arms, we have glimpses of the heroic
figure.

Here is a strange lay in the fierce chorus of battle-cries: the Siren
song in bright insistence, changed to the rushing pace of war.

The scene ends in a crash. Loud sings a solemn phrase; do we catch an
edge of wistful regret? Now returns the sturdy course of the main
heroic melody; only it is slower (_Andante sostenuto_), and the high
stress of cadence is solemnly impassioned.