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There are ten bars of introduction: in the eleventh, to the Dutchman theme, Senta sings the "Yo-ho-ho"; at the fifteenth, with a glorious swing and rush she dashes into the ballad "Traft ihr das Schiff im Meere an, Blutroth die Segel, schwarz der Mast? Auf hohem Bord der bleiche Mann, Des Schilfes Herr, wacht ohne Rast." This consists of eight bars a four-bar section repeated.

She told of a monstrous moon-drunken world, then she described Columbine, a dandy, a pale washer-woman "Eine blasse Wäscherin wäscht zur Nachtzeit bleiche Tücher" and always with a refrain, for Guiraud employs the device to excess. It is the decomposition of the art, I thought, as I held myself in my seat. Of course, I meant decomposition of tones, as the slang of the ateliers goes.

For all his gracefulness and lyricism, he makes a sturdy and constant use of dissonance; in his song "Herbstgefühl" the dissonance is fearlessly defiant of conventions. Sich, das letzte lose, Bleiche Blumenblatt. Goldenes entfärben, Schleicht sich durch den Hain, Auch vergeh'n und sterben, Däucht mir süss zu sein. ... failing, From the rose unbound, Falls, its life exhaling, Dead upon the ground.