Notwithstanding many serious shortcomings, _Edgar_, as a lyric drama, contains much that is sincere and appropriate. It was not a success on its first representation, and the blame was laid for the most part on the libretto. Seeing, however, in the history of opera how many a worse book has passed muster, it is a little curious that Puccini's second work should have been so completely laid on the shelf. It is not the lack of dramatic qualities that make the story of _Edgar_ a poor one; it is rather that the story, as a play, does not contain enough of characterisation to really retain the interest. In spite of the weak third act, with its supposed dead body, and the hero in disguise, the music of this section, both from its wealth of melody, its treatment, and above all its powerful expressive qualities, stands as the best in the work. A finer or more moving scene than that of Fidelia's farewell is hardly to be found in the whole range of what may be termed modern opera. Taken as it stands _Edgar_ proved that Puccini had emphatically progressed beyond his achievement of _Le Villi_. Amid the sweet notes of love there come strong and virile expressions of anger, tumult and indignation, but the main theme is kept clearly to the front with all that force that stands as the leading characteristic of Italian opera, old or new--definite and direct vocal expression. Puccini himself had, and still has by all accounts, a very warm affection for this _Edgar_ of his; and it is not at all unlikely that a revised version may be seen in the near future. Indeed, as it stands, it might very well be permitted the test of a revival. VI "MANON" Auber was the first opera-composer to be attracted by the Abbé Prévost's famous romance _Manon Lescaut_. It is one of those vivid stories of love and passion which have ever made an appeal to those in search of a theme for musical expression. As drama it has a very close connection with life in general, and its human interest has that full flesh-and-blood quality which gives it a certain quick vitality. Sad and sordid it may be; but the story of the wayward Manon, as fascinating a black sheep as ever graced the pages of fiction--or history--is one which is likely to remain in the common stock of tales which provides novelists with material for practically all time. [Illustration: PUCCINI'S MANUSCRIPT SCORES, FROM THE SECOND ACT OF "TOSCA"]