The entr'acte preceding the fourth act consists of a march movement (_Marcia allegro risoluto_). The curtain then rises upon Chernomor's enchanted garden, where Liudmilla languishes in captivity. An oriental ballet then follows, but this is preceded by the March of the Wizard Chernomor. This quaint march which personifies the invisible monster is full of imagination, although it tells its tale so simply that it takes us back to the fairyland of childhood. The first of the Eastern dances (_allegretto quasi andante_) is based upon a Turkish song in 6-8 measure. Afterwards follows the Danse Arabesque and finally a Lezginka, an immensely spirited dance built upon another of the Tatar melodies which were given to Glinka by the famous painter Aivazovsky. A chorus of naiads and a chorus of flowers also form part of the ballet, which is considered one of Glinka's _chefs d'oeuvre_. While the chorus is being sung we see in the distance an aerial combat between Russlan and Chernomor, and throughout the whole of the movement the wizard's _leitmotif_ is prominent in the music. Russlan, having overcome Chernomor, wakes Liudmilla from the magic sleep into which she has been cast by his spells. The first scene of the last act takes place in the Steppes, where Ratmir and Gorislava, now reconciled, have pitched their tent. Russlan's followers break in upon the lovers with the news that Farlaf has treacherously snatched Liudmilla from their master. Then Finn arrives and begs Ratmir to carry to Russlan a magic ring which will restore the princess from her trance. In the second scene the action returns to Prince Svietozar's palace. Liudmilla is still under a spell, and her father, who believes her to be dead, reproaches Farlaf in a fine piece of recitative (Svietozar's music throughout the work is consistently archaic in character). Farlaf declares that Liudmilla is not dead and claims her as his reward. Svietozar is reluctantly about to fulfil his promise, when Russlan arrives with the magic ring and denounces the false knight. The funeral march which had accompanied the Prince's recitative now gives place to the chorus "Love and joy." Liudmilla in her sleep repeats the melody of the chorus in a kind of dreamy ecstasy. Then Russlan awakens her and the opera concludes with a great chorus of thanksgiving and congratulation. Throughout the finale the characteristics of Russian and Eastern music are combined with brilliant effect.