Discreditable as Lulli's conduct was in this whole matter, it must be admitted that he did all that he could for the elevation of French operatic art. In this direction he had a powerful ambition, and although it was selfish it was not altogether narrow. His most important operas were: "Alceste" (1674), "Thesée" (1675), "Persée" (1682), "Roland" (1685), "Armide" (1686), and--his last--"Acis et Galathée" (1686). The influence of his operas may be judged from the fact that they held the stage till 1774. Lulli's works were inferior to those of his Italian contemporaries in purely musical beauty. The aria as written by Lulli possesses far less distinctness and symmetry of form, and he showed no such ability as the Neapolitans did in dealing with voices in mass. Neither in duets nor in ensembles was he especially happy. His choral writing is generally thin and poorly developed, and his duets are rather dialogues. But on the other hand Lulli far excelled the contemporary Neapolitan composers in sincerity of purpose and in the dramatic fidelity of his method. He endeavored to the limit of his ability to fit the music to the text. In this he followed the fundamental principles of Peri, and established that tradition of dramatic sincerity which has never left the French school of opera. He increased the value of the chorus by making it an integral part of the drama. The Neapolitans used the chorus merely for musical effect. Lulli gave it a dramatic reason for existence. Its music is always appropriate to the situation and fits well into the general tone-picture. His recitative is built largely after the Italian model of his time, and it is a vast advance over that of Beaujoyeux and Cambert. Here is an example from "Armide":-- [Music: "Armide".] ARONTE. De nos en-ne-mys c'est le plus re-dou-ta-ble. Nos plus vaillants soldats sont tombés sous ses coups; Rien ne peut ré-sist-er à sa val-eur ex-trêm-e. ARMIDE. O ciel! c'est Re-naud! C'est lui mê-me _DUET: Vite._ ARMIDE. Pour-soui-vons jusqu'au tré-pas l'en-ne-my qui nous of-fen-se; Qu'il n'é-chap-pe pas HIDRAOT. Pour-soui-vons pour-soui-vons jusqu'au tré-pas l'en-ne-my qui nous of-fen-se; Qu'il n'é-chap-pe pas