At first it is not heard in its entirety. The sweet singer of Israel plays it, or sometimes only the first two bars, in various keys, and with varied harmonisation, as if watching the king and trying the effect on him of different modulations. Besides in the principal key, it appears several times, and in succession, in the relative minor, then in the minor key of the supertonic. The key of the subdominant enters with refreshing effect; after that, a return is made to the principal key, which continues until the close of the movement. Between each delivery of the theme, occur passages similar to the following:-- [Music illustration] as if to denote the restlessness of the king. And as the character of the music, especially towards the close, suggests _piano_ and _pianissimo_, it would seem as though intended to express the gradual healing power of the music. As a piece of abstract music, the movement appears long, but not if the dramatic situation be kept well in mind. At length the sounds of the harp cease, and a closing, peaceful, and dignified movement in G minor tells of Saul's now tranquil state of mind. The 3rd Sonata, entitled "The Marriage of Jacob," opens with a delightful Gigue; over it stands the superscription, "The joy of the family of Laban at the arrival of their relation Jacob." The beginning of the second section has, as usual, the subject inverted. The music is gay and sparkling. Then comes a section illustrative of Jacob's seven years' service for a wife. The music expresses effort and fatigue, but by way of musical contrast sprightly bars intervene from time to time, to represent happy moments when the lovers meet. Further on we have the bridal-song of the companions of Rachel: a short, quaint, and delicate movement in minor and in triple time. It commences thus:-- [Music illustration] A short section follows, full of rapid semiquaver passages and points of imitation (such a mode of procedure is frequently adopted by the composer); and then comes a sudden change in the character of the music. No _tempo_ is marked, but, evidently, it must not be rapid. It is a tone-picture of the deception practised by Laban upon Jacob when he substituted Leah in place of Rachel. At first, it is a free recitative. A quotation of a few bars will give a good idea of the extraordinary harmonies and rhythmical figures:-- [Music illustration] And again-- [Music illustration] The Fugue, short and vigorous, has a characteristic theme:-- [Music illustration]