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Follows the epilogue, where in the comfortable swing of the beginning the first melody is extended in full beauty and significance. All the pleasantry of the rogue is here, and at the end a last fierce burst of the demon laugh. The work followed a series of tone-poems where the graphic aim is shown far beyond the dreams even of a Berlioz.
One thing at least the Strauss of the tone-poems indisputably was. He was freely, dazzlingly, daringly expressive. And this is what the Strauss of the last years thinly and rarely is. It is not Oscar Wilde's wax flowers of speech, nor the excessively stiff and conventionalized action of "Salome," that bores one with the Strauss opera of that name.
An omelet lay between them, pale golden-yellow with flecks of green; a few amber bubbles of burnt butter still clustered round the edges. "Talk about tone-poems," said Henslowe. "But, if you are an adventurer and have no scruples, how is it you are still a private?" Henslowe took a gulp of wine and laughed uproariously. "That's the joke." They ate in silence for a little while.
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