The composer further calls attention in his preface to the use of representative themes, an illustration of which was also noted in "The Redemption." The first one, consisting of four notes, presenting a sequence of three major seconds, is intended to express "the terror inspired by the sense of the inflexibility of justice and, in consequence, by that of the anguish of punishment. Its sternness gives expression both to the sentences of divine justice and the sufferings of the condemned, and is found in combination throughout the whole work, with melodic forms which express sentiments altogether different, as in the 'Sanctus' and the 'Pie Jesu' in the 'Requiem,' which forms the first part." It is first heard in the opening chorus, and for the last time in the quartet of the third part. The second melodic form, expressive of sorrow and tears, by the change of a single note and the use of the major key is made to express consolation and joy. "The third," says Gounod, "by means of threefold superposition, results in the interval of an augmented fifth, and announces the awakening of the dead at the terrifying call of the angelic trumpets, of which Saint Paul speaks in one of his epistles to the Corinthians." The oratorio is divided into a prologue and three parts, the Latin text being used throughout. The first part is entitled "Mors," and opens with the prologue, which is brief, followed by the "Requiem," interspersed with texts of a reflective character commenting upon the sentiment. The second part is entitled "Judicium" ("Judgment"), and includes (1) The Sleep of the Dead; (2) The Trumpets at the Last Judgment; (3) The Resurrection of the Dead; (4) The Judge; (5) The Judgment of the Elect; (6) The Judgment of the Rejected. The third part is entitled "Vita," and includes the vision of Saint John, the text being taken from the Apocalypse; the work closing with an "Hosanna in Excelsis," exulting in the glorious vision of the heavenly Jerusalem.