The third part begins with a brief instrumental prelude, in which the drums and trumpets sound the tattoo, introducing a scene in Marguerite's chamber, where Faust sings a passionate love-song ("Thou sweet Twilight, be welcome"), corresponding with the well-known "Salve dimora" in Gounod's garden scene. At its close Mephistopheles warns him of the approach of Marguerite and conceals him behind a curtain. She enters, and in brief recitative tells her dream, in which she has seen the image of Faust, and discloses her love for him. Then while disrobing she sings the ballad "There was a King in Thule." As its pathetic strains come to a close, the music suddenly changes and Mephistopheles in a characteristic strain summons the will-o'-the-wisps to bewilder the maiden. It is followed by their lovely and graceful minuet, in which Berlioz again displays his wonderful command of orchestral realism. It is followed by Mephistopheles' serenade ("Why dost thou wait at the Door of thy Lover?"), with a choral accompaniment by the will-o'-the-wisps, interspersed with demoniac laughter. The last number is a trio ("Angel adored") for Marguerite, Faust, and Mephistopheles, wonderfully expressive in its utterances of passion, and closing with a chorus of mockery which indicates the coming tragedy. The fourth part opens with a very touching romance ("My Heart with Grief is heavy"), the familiar "Meine Ruh' ist hin" of Goethe, sung by Marguerite, and the scene closes with the songs of the soldiers and students heard in the distance. In the next scene Faust sings a sombre and powerful invocation to Nature ("O boundless Nature, Spirit sublime"). Mephistopheles is seen scaling the rocks and in agitated recitative tells his companion the story of Marguerite's crime and imprisonment. He bids him sign a scroll which will save him from the consequences of the deed, and Faust thus delivers himself over to the Evil One. Then begins the wild "Ride to Hell," past the peasants praying at the cross, who flee in terror as they behold the riders, followed by horrible beasts, monstrous birds, and grinning, dancing skeletons, until at last they disappear in an abyss and are greeted by the chorus of the spirits of hell in a tempest of sound, which is literally a musical pandemonium ("Has! Irimiru Karabras," etc.) in its discordant vocal strains and in the mighty dissonances and supernatural effects in the accompaniment. A brief epilogue, "On Earth," follows, in which Faust's doom is told, succeeded by a correspondingly brief one, "In Heaven," in which the seraphim plead for Marguerite. The legend closes with "Marguerite's Glorification," a jubilant double chorus announcing her pardon and acceptance among the blest.