effectively abridged so that the second theme, by far the most
appealing in the whole work, stands out in greater prominence.
Then follows a brilliant expansion of the closing portions of the
second theme, until we reach the Coda. This begins with a rem-
iniscence of the first theme which fades away into a modified
presentation of the Duke Theseus theme, followed by four long-
drawn out Amens.[211] These may signify the blessing which,
in the play, the elves bestow upon the Ducal house. The Intro-
ductory chords dissolve the dream which the music has evoked,
and we are back once more in the world of reality.
[Footnote 210: This, after all, is a rather subtle point for a boy
of seventeen to be called upon to consider. Perhaps if he had
been that kind of a boy he might not have written the Overture
at all!]
[Footnote 211: The ecclesiastical formula for an Amen being the
so-called Plagal cadence of subdominant and tonic chords.]
To suggest the attitude which we of to-day should take to-
wards Mendelssohn—he may justly be admired as a musician
of great natural gifts, of high ideals and of unusually finished
technique in many branches of composition. It is ungracious to
censure him because he lacks the gripping emotional power of
a Beethoven or a Wagner. Those who indulge in such narrow
criticism condemn only themselves.