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The results of this prompt rally of the Prussians were infinitely enhanced by the fact that Wellington soon found it out, while Napoleon did not grasp its full import until he was in the thick of the battle of Waterloo. To the final steps that led up to this dramatic finale we must now briefly refer.
The crying, bold finale is full of the tragedy of northern nature. And in the Second Symphony the independence is complete. The orchestra is handled individually, sparingly, and with perfect point. Often the instruments sound singly, or by twos and threes. What had been but half realized in the earlier work is distinct and important in this.
After breakfasting at Borghetto at a miserable inn, where they were much annoyed by beggars of all descriptions, they continued their journey through much the same character of country for the rest of the day, and towards dark they met with a slight adventure: "Our road was down a steep declivity winding much in the same way as at Finale.
In the very front rank of this predatory band stands one who sustains in this case the double and most convenient character of contestant and witness; and it is but a subdued expression of my estimate of the deposition he has lodged, to say that this Parthian shaft the last that he could hurl at an invention which he has so long and so remorselessly pursued is a fitting finale to that career which the public justice of the country has so signally rebuked."
It was the finale of the night: resuming their pipes; in the highest enthusiasm, amid volumes of tobacco-smoke; triumphant, cloud-capt without and within, the assembly broke up, each to his thoughtful pillow. Bleibt doch ein echter Spass- und Galgen-vogel, said several; meaning thereby that, one day, he would probably be hanged for his democratic sentiments.
It is the finale of Hugo's matchless word-painting of the Battle of Waterloo: "A few squares of the guard, standing motionless in the swash of the rout, like rocks in running water, held out till night. They awaited the double shadow of night and death, and let them surround them.
Then it sounds out sinister, menacing, and the effect, both dramatic and musical, is overwhelming. Another example is the phrase representing Lohengrin simply as a heroic knight. Save in the finale of the first act, no great use is made of it.
Two big thick tender steaks well garnished with potato salad, the handiwork of Frau Lena Scheff, creamed potatoes, huge cups of delicious coffee and a grand finale of broad, sugar-frosted, German pancakes. By the time this feast was finished their own garments were thoroughly dry, and as lightning change artists they appeared in their own clothes, renewed in body as well as in appearance.
While innumerable thoughts of this kind perplexed his mind, the voice of the woman he worshipped rang out close beside him; he knew its clear resonant soprano. It was her voice, with that faint tremor in it which gave it all the charm that shyness and diffidence gives to a young girl; her voice, distinct from the mass of singing as a prima donna's in the chorus of a finale.
Another dialogue follows between Figaro and Rosina, leading to the florid duet, "E il maestro io faccio." In the tenth scene the Count arrives disguised as the drunken soldier, and the finale begins. It is composed of three scenes very ingeniously arranged, and full of glittering dialogue and very melodious passages.
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