Scène

217-274. The metrical regularity of this passage is remarkable. Only in the first and last Unes is the main pause moved from the sixth syllable except, for rhetorical reasons, in 235, where the pathos becomes for a moment more intense. In 229 and 263 the rhetorical effect is increased by putting the chief pause after revoir and grand. Since pathos is the key-note of the passage, we should expect the six syllables of the 112 halflines to be divided into three and three or four and two syllables, and with four exceptions this is uniformly the case. See Introduction, p. xi.

Notes, 234-325 Le Luthier de Crémone

234. scherzo, brisk musical movement. lento (also written lente), slow musical movement. Both words as well as most other terms of musical notation are Italian.

240, doré, alluding perhaps to the color given by polish and the délicate varnish to the fine-grained and elastic pine of the Southern Alps. But the Amati violins were often elaborately painted, decorated, and inlaid.

242. ami. The violin is hère personified and said to lead a noble or a gypsy life according to the use to vvhich it is put.

243. faubourgs, hère in its original sensé of suburban, outside (^fors) the city walls {bourg), where now we might find villas, but in those less orderly times the dvvellings and pleasure resorts of the poor. When applied to Paris without qualification, the district or districts inhabited by the artisan class is meant.- The Faubourg Saint-Germain is aristocratie, the Faubourg Saint- Honoré commercial.