and in shape this last bit of melodic utterance reflects a segment
of the theme.

Probably the harmonies that wander from the initial e minor
into the eventual E major of m. 21 are not sufficiently directed to
form a connection between them, so it seems unlikely that we can
hear the opening e as dominant for the concluding a. (And it
would be in any case a singularly lifeless dominant, lacking the
leading tone--its third--and, thus, any sense of drive toward
movement or resolution.) We don't even have much reason to hear
the E of m. 21 as V of a. Similarly, it is difficult to connect the end-
ing tonic to the earlier ("cadential?")

Perhaps one way to consider the whole is not that we may only
questionably follow the grammatical connections outlined, but
that the ending piously enforces an organization upon what has
been purposely presented as not very well organized. It is as if a
force--a kind of will--exerts itself at the end on the various, tenu-
ously understood thoughts that are scattered behind it; it gathers
them into a coherence and imposes order and rest upon them and
out of them.

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