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The final scene of the act is treated with surpassing reticence, dignity, and simplicity, yet with piercing intensity of expression. Nothing could be at the same time more sparing of means and more exquisitely eloquent in result than Debussy's setting of the scene of Mélisande's death it is music which dims the eyes and subdues the spirit. value, but they may not easily be praised with adequacy.
The scene closes with a variant of this, and there is an interlude in which the orchestra weaves a commentary out of the themes of Fate and Golaud's Love. Together with the Pelléas theme, it accompanies the opening portion of the scene. A suggestive use is made of a fragment of the Fate theme at Mélisande's words, after Pelléas prophesies the approach of a storm: "And yet it is so calm now!"
This "vieille et triste légende de la forêt" is alive with images, such as the old and somber castle inhabited by aging people and lying lost amid sunless forests, the rose that blooms in the shadow underneath Mélisande's casement, Mélisande's hair that falls farther than her arms can reach, the black tarn that broods beneath the castle-vaults and breathes death, Golaud's anguished search for truth in the prattle of the child, that could not but call a profound response from Debussy's imagination.
"Yes, I think I can see to the bottom of the abyss," rejoins Pelléas. "Is it the light that trembles so?" He straightens up, turns, and looks at Golaud. "Yes, it is the lantern," answers Mélisande's husband, his voice shaking. "See I moved it to throw light on the walls." "I stifle here.... Let us go!" exclaims Pelléas. They leave in silence.
The rhythm of the Fate motive is hinted by violas, 'cellos, and horns as Golaud, in answer to Mélisande's compassionate questioning, observes that he is "made of iron and blood." Nothing has happened, no one has harmed her, she answers, in response to Golaud's questionings: "It is no one. You do not understand me.
Mélisande begs to be released, Pelléas kisses the enveloping tresses.... "Do you hear my kisses? They mount along your hair." Doves come from the tower Mélisande's doves and fly about them. They are frightened, and are flying away. "They will be lost in the dark!" laments Mélisande. Golaud enters by the winding stair, and surprises them.
As Mélisande's doves come from the tower and fly about the heads of the lovers, we hear, tremolo in the strings, a variation of her motive. Golaud enters by the winding stair, and the threatening phrase quoted as Ex. The latter motive sounds, p, as he warns Mélisande that she will fall from the window if she leans so far out. It is followed by the Fate theme as he departs, laughing nervously.
The theme of Pity accompanies Mélisande's awakening, and a new motive is heard as she responds, to Arkël's question: "I have never been better." I shall call it the motive of Sorrow, for it seems like the comment of the music upon the transporting and utter sadness of the play's dénouement. It voices a gentle and passive commiseration, rather than a profound and shaking grief: XXIII. SORROW
It may be called the motive of Mélisande's Gentleness: XXIV. MÉLISANDE'S GENTLENESS As Golaud's still unvanquished doubts and suspicions torture him into harsh interrogations, and he asks her if she loved Pelléas "with a forbidden love," an oboe and two flutes recall, p et doux, the Rapture motive.
"Then you shall give him these," said Zuleika, holding out the two studs. "Mais jamais de la vie! Chez Tourtel tout le monde le dirait millionaire. Un garcon de cafe qui porte au plastron des perles pareilles merci!" "Tell him he may tell every one that they were given to me by the late Duke of Dorset, and given by me to you, and by you to him." "Mais " The protest died on Melisande's lips.
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