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Far different from this as far inferior in tone to Lenau's lines, as it exceeds them in beauty of workmanship is the well-known picture of the scene under the wall in the Siege of Corinth: He saw the lean dogs beneath the wall Hold o'er the dead their carnival; Gorging and growling o'er carcass and limb; They were too busy to bark at him!
It is not simply "a man," or even "an amatory hero" that is portrayed in "Don Juan." It is no vague symbol for the poet of the sort created by "Orpheus" or "Tasso" or "Mazeppa." It is Lenau's hero himself, the particular being Don Juan Tenorio.
In the question of the composer's intent, of general plan and of concrete detail, it is well to see that the quotation from Lenau's poem is twice broken by lines of omission; that there are thus three principal divisions.
After 1870 he returned to Weimar, living there and in Budapest and in Rome. His principal orchestral works are: "Eine Faustsymphonie," "Dante," "Bergsymphonie," "Tasso," "Les Préludes," "Orpheus," "Mazeppa," "Hungaria," "Hunnenschlacht," "Die Ideale," "Two Episodes from Lenau's Faust," etc. His principal choral works are "Die Legende von der Heiligen Elisabeth" and "Christus."
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