FAMILY Frlngllllds. 



Then I decided the incident was closed; but no, another 

 day I got this: 



and finally that same day a second form of the first 

 motive suggested that the tune would never end! 



There was no doubt about all this coming from a single 

 individual; I had my eye on him, and kept track of all 

 his movements. The variations of a single motive in 

 song are very subtle, and we usually fail to discover the 

 ingenuity of the composer who constructs an extensive 

 melody of but one or two simple motives. This is per- 

 fectly illustrated in the Di Provenza from Verdi's 

 Traviata. (See previous page.) 



It is a network of repetitions throughout; remove the 

 first motive with its variations and the aria is pretty 

 nearly all gone! A similar illustration serves us in " La 

 Donna 6 mobile " from Verdi's Rigoletto. (See page 115.) 

 Remove the first, third, and ninth bars and nothing is 

 left but their variations and the closing bar! Strangely 

 114 



