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of the several parts. For this, he prepares by a repetition of the prologue (No. 1). But in how different a style from that in which it first crept on our notice! Instead of that vagueness and mystery which made it so captivating, it is now given with the fullest force of the Orchestra and the loudest clamor of the Drum and in the most unmistakable D major. Its purpose is accomplished, its mission fulfilled, its triumph assured. No need now for concealment or hesitation. And so it merges into the great descent of the main subject,—in D minor, it is true, but not a mere unison as before,—in full harmony, with a Bass ascending in contrary motion, and all possible noise. Nor is this all. To give greater weight to the main features of the subject, it is lengthened out by the insertion of two bars in the middle and two bars at the end. See (a) (a) and (b) (b):—
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