The last act opens with a dolorous phrase derived from the variant of
the _Mélisande_ theme noted on page 82 of the piano score. It is played
by the violas, with harp accompaniment. The violins repeat it, and two
flutes announce a new theme (page 268, measure 5), the motive of
_Pity_:
XXII. PITY
[Illustration: Lent et triste]
As Golaud bends with Arkël over the unconscious figure of Mélisande
where she lies stretched upon her bed, muted horns and 'cellos play a
gentle variant of the _Fate_ theme, followed by the _Mélisande_ motive
as Golaud exclaims that they had but "kissed like little children." 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."
This new theme (page 274, measure 4), of extraordinary poignancy, is
given out by an oboe supported by two flutes, and its expression is
marked _triste et très doucement expressif_. 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
[Illustration: Lent et triste]
A third new theme, also of searching pathos, occurs in the strings, _p,
très doux_, as Mélisande quietly greets her husband (page 279, measure
1), and later, when she says that she forgives him (page 282, measure
1). It may be called the motive of _Mélisande's Gentleness_:
XXIV. MÉLISANDE'S GENTLENESS
[Illustration: _très doux_]
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. Later, in succession, we hear (on a solo violin over
flute and clarinets) the _Pelléas_ theme (page 289, measure 2), the
motive of _Gentleness_, for the last time (page 290, measure 3), and
the _Mélisande_ theme (pages 290-292). As Mélisande recognizes Arkël,
and asks if it be true "that the winter is coming," a solo violin, solo
'cello, and two clarinets play an affecting phrase (page 294, measure
5). She tells Arkël that she does not wish the windows closed until the
sun has sunk into the sea, and the orchestra accompanies her in a
passage of curiously delicate sonority (page 295, measure 6).
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. The _pianissimo_-repeated chords in the divided strings which
accentuate Arkël's warning words (page 304, measure 8); the blended
tones of the harp and the distant bell at the moment of dissolution
(page 306, measure 11); Arkël's simple requiem over the body of the
little princess, with the grave and tender orchestral commentary woven
out of familiarly poignant themes (pages 308-309); the murmurous coda,
with its muted trumpet singing a gentle dirge under an accompaniment of
two flutes (page 310, measure 7),--these things are easy to
XXV
[Illustration: Très lent]
value, but they may not easily be praised with adequacy.
Concerning felicities of structural and technical detail in the work as
a whole, this has not been the place to speak; but if curious
appreciators, or others who are merely curious, should perhaps be
induced, by what has been written here, to explore for themselves
Debussy's beautiful and in many ways incomparable score, the purpose of
this study will have been achieved.
End of Project Gutenberg's Debussy's Pelléas et Mélisande, by Lawrence Gilman