Tsar." Again in another solemn moment in the opera the phrase from the _Slavsia_ stands out still more clearly. When the Poles command Sousanin to lead them instantly to the Tsar's abode, the hero answers in words which rise far above the ordinary level of the libretto: "O high and bright our Tsar's abode, Protected by the power of God, All Russia guards it day and night, While on its walls, in raiment white, The angels, heaven's winged sentries, wait To keep all traitors from the gate." These words are sung by Sousanin to a majestic cantilena in a flowing 6-4 measure, while the orchestra accompany in march rhythm with the _Slavsia_, which, in spite of being somewhat veiled by the change of rhythm and the vocal melody, may be quite easily identified. Two great scenes are allotted to Sousanin. The first occurs when the Poles insist on his acting as their guide and he resolves to lay down his life for the Tsar. Here the orchestra plays an important part, suggesting the agitations which rend the soul of the hero; now it reflects his super-human courage, and again those inevitable, but passing, fears and regrets without which his deed would lose half its heroism. The alternating rhythms--Sousanin sings in 2-4 and the Poles 3-4--are effectively managed. Sousanin's second great moment occurs when the Poles, worn out with hunger and fatigue, fall asleep round their camp fire and the peasant-hero, watching for the tardy winter sunrise which will bring death to him and safety to the young Tsar, sings in a mood of intense exaltation the aria "Thou comest Dawn, for the last time mine eyes shall look on thee!" a touching and natural outburst of emotion that never fails to stir a Russian audience to its emotional depths, although some of the national composers have since reached higher levels, judged from a purely musical standpoint.