As Mélisande whispers suddenly to Pelléas that there is some one behind them, a menacing version of the Vengeance theme is played, pp, by the basses, trombones, and timpani. This theme and that of Rapture hasten the music toward its culminating point of intensity. The Pelléas theme is given out by the 'cellos, the Mélisande theme (this is not indicated in the piano version) by the violins, and as the lovers embrace desperately, a crescendo leads to a fortissimo proclamation, by all the orchestral forces, of a greatly broadened version of the motive of Ecstasy. As Golaud rushes upon them and strikes down Pelléas, the Fate theme is declaimed by four horns in unison over string tremolos; and, as he turns and silently pursues the fleeing Mélisande through the forest, his Vengeance theme brings the act, by a rapid crescendo, to a crashing close.
ACT V
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
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
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: