Plainly then, from a didactic point of view, this prologue is a gratuitous impertinence. Not so its music. Structurally, it is little more than a loose-jointed pot-pourri; but it serves the purpose of a thematic catalogue to the chief melodic incidents of the play which is to follow. In this it bears a faint resemblance to the introduction to Berlioz's "Romeo and Juliet" symphony. It begins with an energetic figure, [figure: a musical score excerpt] which is immediately followed by an upward scale-passage with a saucy flourish at the end--not unlike the crack of a whiplash:-- [figure: a musical score excerpt] It helps admirably to picture the bustling activity of the festa into which we are soon to be precipitated. The bits of melody which are now introduced might all be labelled in the Wolzogen-Wagner manner with reference to the play's peoples and their passions if it were worth while to do so, or if their beauty and eloquence were not sufficient unto themselves. First we have the phrase in which Canio will tell us how a clown's heart must seem merry and make laughter though it be breaking:-- [figure: a musical score excerpt] Next the phrase from the love music of Nedda and Silvio:-- [figure: a musical score excerpt] The bustling music returns, develops great energy, then pauses, hesitates, and makes way for Tonio, who, putting his head through the curtain, politely asks permission of the audience, steps forward and delivers his homily, which is alternately declamatory and broadly melodious. One of his melodies later becomes the theme of the between-acts music, which separates the supposedly real life of the strolling players from the comedy which they present to the mimic audience:-- [figure: a musical score excerpt]