we must turn to the laments of Theseus in Act V., where he discovers his error and involuntary crime, "Great gods, with what remorse I feel myself distraught." The fine passage, "Since an eternal barrier lies between us," has heart-stirring melodic analogies with the farewells of Wotan.
For the purpose of completeness (completeness, that is, within the bounds of this slight study), we ought to point out the prominent features of Rameau's ballets as we have sought to do with his "tragedies"—for that is the significant name under which Hippolyte, Castor, and Dardanus were presented to his contemporaries. We should take as our type the "Heroic Ballet" of the Indes Galantes, abounding as it does in gracious and fresh beauties; its "first entrance" in particular has the charm of a fresco by Tiepolo … But however tempting it might be to set before the world the variety of the master's work, we should be afraid of lapsing into wearisome detail. It will be better, at the point we have now reached, to sum up our opinions in a few general remarks.
VIII
I have emphasised Rameau's high qualities of dramatic expression, because it often happens that they are not recognised, and he is represented as a great symphonist who strayed into opera. I think I have shewn on the contrary that the same basis of musical wealth from which his symphonic inspiration draws its nourishment, provides also the eloquence, variety and fine shades of his dramatic expression. If in the total of his work symphony seems to hold a
