greatest gladness in contrast to the deepest woe! What exclamations!
What gleeful notes! The oppressed spirit breathes again. What delirium
in the _tremolo_ of the orchestra! What a noble _tutti_! This is the
rejoicing of a delivered nation. Are you not thrilled with joy?"

The physician, startled by the contrast, was, in fact, clapping his
hands, carried away by admiration for one of the finest compositions
of modern music.

"_Brava la Doni!_" said Vendramin, who had heard the Duchess.

"Now the introduction is ended," said she. "You have gone through a
great sensation," she added, turning to the Frenchman. "Your heart is
beating; in the depths of your imagination you have a splendid
sunrise, flooding with light a whole country that before was cold and
dark. Now, would you know the means by which the musician has worked,
so as to admire him to-morrow for the secrets of his craft after
enjoying the results to-night? What do you suppose produces this
effect of daylight--so sudden, so complicated, and so complete? It
consists of a simple chord of C, constantly reiterated, varied only by
the chord of 4-6. This reveals the magic of his touch. To show you the
glory of light he has worked by the same means that he used to
represent darkness and sorrow.

"This dawn in imagery is, in fact, absolutely the same as the natural
dawn; for light is one and the same thing everywhere, always alike in
itself, the effects varying only with the objects it falls on. Is it
not so? Well, the musician has taken for the fundamental basis of his
music, for its sole _motif_, a simple chord in C. The sun first sheds
its light on the mountain-tops and then in the valleys. In the same