Saint-Saëns has put his theory into practice with considerable success in the four symphonic poems entitled "Le Rouet d'Omphale," "Danse Macabre," "Phaëton," and "La Jeunesse d'Hercule." Fundamentally different the one from the other, each of these compositions comes under the category of descriptive music, and is intended to illustrate a special subject. In the "Rouet d'Omphale," the composer has employed the well-known classic tale of Hercules at the feet of Omphale as a pretext for illustrating the triumph of weakness over strength. No words can express the art with which the composer has developed his themes, or give an idea of the delicacy of an instrumentation which, gossamer-like, seems to float in an atmosphere of melody. Perhaps the most characteristic of the four symphonic poems is the well-known "Danse Macabre." This work is suggested by a poem of Henri Cazalis, the first verse of which runs thus: "_Zig et zig et zag, la mort en cadence Frappant une tombe avec son talon La mort à minuit joue un air de danse Zig et zig et zag, sur son violon._" The hour of midnight is heard to strike, and Death is supposed to perform a weird and ghastly dance, which grows wilder and wilder, until the cock having crowed, the excitement gradually subsides, and quiet reigns once more. The way in which Saint-Saëns has succeeded in musically depicting the above story is intensely original and masterly. The general plan of the piece is perfectly clear and logically worked out. The two themes upon which it is constructed are admirably adapted for the purpose, and susceptible of being employed together with striking effect. There is a certain passage which produces the uncanny impression of the wailing of an unhealthy night wind through the trees of a churchyard. In order to give an imitation of the rattling of bones, Saint-Saëns has made use of the xylophone. A curious detail to be noted is the introduction, in a species of burlesque manner, of the "Dies Iræ," transposed into the major and converted into a waltz, to which the skeletons are supposed to dance. Strikingly original and ingenious is the effect of the "solo" violin, with its string tuned to E♭, producing a diminished fifth on the open strings A and E♭, which, being reiterated several times, conveys a peculiar sensation of weirdness. The "Dance Macabre" has contributed largely to spread its author's reputation all over Europe. It is undoubtedly one of his most popular works. "Phaëton," op. 39, and "La Jeunesse d'Hercule," op. 50, although less well known, are not the less remarkable. The first of these deals with the well-known story of Phaëton, who has obtained permission to drive the chariot of his father, the Sun, through the skies. His unskilled hands are powerless to retain the steeds. The entire universe is about to perish through the too close proximity of the flaming chariot, when Jupiter strikes the imprudent Phaeton with his thunderbolts.