This is immediately followed by one of the most important themes in the opera, that which seems to typify the veiled and overshadowing destiny which is very close to the central thought of Maeterlinck's play. Strangely harmonized, this Fate theme (it is in the second measure that its kernel is contained, and it is this portion of it that is most frequently repeated) is sounded, pp, très modéré, by oboes, English horn, and clarinets (page 1, measure 5):
II. FATE
These two themes are repeated, with altered harmonization; then follows one of the two principal themes of the score—that of Mélisande, sung, doux et expressif, by the oboe over tremolos in the divided strings (page 1, measure 14):
III. MÉLISANDE
It is followed by a derivative theme which, in the drama, suggests the naïveté of Mélisande's personality (page 1, measure 1):
IV. MÉLISANDE'S NAÏVETÉ
Flute, oboe and clarinet repeat it over a counterpoint formed by the Fate theme (2 horns), and the curtain opens to the accompaniment of the Forest motive. This latter theme, with the motive of Fate, underscores the earlier portions of the dialogue between Golaud and Mélisande. At Golaud's words: "Oh! you are beautiful!" we hear (page 7, measure 1) an ardent phrase in the strings expressive of his awakened passion for the distressful little princess: