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Conclusion aria recitative-like entrance at the same chordal accompaniment, "frozen" declamatory phrases.
The dramatic climax of the third act - the second picture, the scene in front of the temple, where there is a meeting with Margaret Mephistopheles. Wide range of emotions Margarita - from full humility, prayer to the extreme "desperation-is embodied in a flexible and expressive recitative. The drama of the scene aggravated by a sharp contrast: dialogue is extremely tense Marguerite and Mephistopheles is opposed to the cold, "detached" sounding organ and a choir of worshipers in the temple. The contrast, which makes use here the composer, not only semantic, but also the genre, style. From a strict diatonic and turns choral and organ sound contrasts jerky, breathless rhythm of recitative Margarita.
The final stage in the development of images of Marguerite and Faust-scene in a prison in the fourth act. This is not a traditional love duet or duo-memory, and psychologically complex scene, reminiscent of and within the meaning and composition of the final scenes of Alfred and Violetta, Gilda, and of Verdi's operas. Free alternation of different episodes of dramatic increases steadily penetrated up to the tragic denouement at the end of the scene. Gounod is there new ways of musical expression, especially in the melodic style, where everything is based on the gradual replacement of expressive singing recitation arioznogo.
The first section of the scene, the duo of Faust and Marguerite (Allegro pop troppo) is perceived as an extension of their duet in the garden of the second act: the same passionate sense of fullness, the same broad nature of the two melodic lines, the orchestra and the vocals.
The emergence of the waltz theme from the first act and phrases that are exchanged in the same place and Margaret Faust, first impression of bright memories of first meeting. But the graceful, light-hearted waltz theme in the orchestra now confronts as if frozen in one-note recitation of Margarita, in a delirium recalls the meeting with Faust Waltz in this scene no longer plays the role of genre background and perceived more symbolic, as the image of an unfulfilled dream of happiness drama scene increase the replica of Faust Trying to take away with you Margaret. The tragic climax of the scene - terzetto Marguerite, Faust and Mephistopheles, logically grow out of the duo's dramatic tension of the situation found an identical expression in music.
This episode was largely anticipated by the monologue of Faust from the prologue (before the appearance of Mephistopheles).