 The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication.The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing.Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of "Tamara" in 1898.