(Scena: "Ritorna vincitor.") Yet could she wish for the defeat and the death of the man she loves? She prays the gods to pity her sufferings ("Numi, pieta"). Before a colossal figure of the god in the temple of Ptah, while the sacred fires rise upward from the tripods, and priestesses move through the figures of the sacred dance or chant a hymn to the Creator, Preserver, Giver, of Life and Light, the consecrated sword is placed in the hands of Radames. It is in this scene that the local color is not confined to externals alone, but infuses the music as well. Very skilfully Verdi makes use of two melodies which are saturated with the languorous spirit of the East. The first is the invocation of Ptah, chanted by an invisible priestess to the accompaniment of a harp:-- [Musical excerpt--"Possente, possente Ftha, del mondo spirito animator ah! noi t'in vo chiamo."] The second is the melody of the sacred dance:-- [Musical excerpt] The tunes are said to be veritable Oriental strains which some antiquary (perhaps Mariette himself) put into the hands of Verdi. The fact that their characteristic elements were nowhere else employed by the composer, though he had numerous opportunities for doing so, would seem to indicate that Verdi was chary about venturing far into the territory of musical nationalism. Perhaps he felt that his powers were limited in this direction, or that he might better trust to native expression of the mood into which the book had wrought him. The limitation of local color in his music is not mentioned as a defect in the opera, for it is replaced at the supreme moments, especially that at the opening of the third act, with qualities far more entrancing than were likely to have come from the use of popular idioms. Yet, the two Oriental melodies having been mentioned, it is well to look at their structure to discover the source of their singular charm. There is no mystery as to the cause in the minds of students of folk-song. The tunes are evolved from a scale so prevalent among peoples of Eastern origin that it has come to be called the Oriental scale. Its distinguishing characteristic is an interval, which contains three semitones:-- [Musical excerpt] The interval occurring twice in this scale is enclosed in brackets. Its characteristic effect is most obvious when the scale is played downward. A beautiful instance of its artistic use is in Rubinstein's song "Der Asra." The ancient synagogal songs of the Jews are full of it, and it is one of the distinguishing marks of the folk-songs of Hungary (the other being rhythmical), as witness the "Rakoczy March." In some of the Eastern songs it occurs once, in some twice (as in the case of the melodies printed above), and there are instances of a triple use in the folk-songs of the modern Greeks.