As in the case of the arias, so Gluck also endeavored to make his recitative purely expressive rather than merely conventional. In this his task was easier, because he was advancing along the path already trodden by Lulli and Rameau. He strove furthermore to make the ballet and the chorus integral parts of the action of the play. No finer example of this is to be found anywhere in his works than in the scene in Hades in "Orfeo." The dance of the demons, tentative in style as it seems to us to-day, is at least an honest attempt to give the dancing a pantomimic value, and the whole action of the chorus in this scene, with its expressive gestures and its vigorous shouts of "No" to the pleadings of Orpheus, is an example of dramatic organization of the highest kind. In this scene poetry, painting, music, and action are as firmly and indissolubly joined as they are in any scene in those dramas which a century later were called "the art work of the future." Even the instrumentation is as carefully designed for dramatic purposes as that of Wagner. The differences are in the state of development of the art, not in design. In Gluck's day orchestral effects had not been developed as they are now, but I am quite prepared to adopt the words of Dr. Parry: "Mozart was the first to show real natural gift and genuine feeling for beautiful disposition of tone, but Gluck anticipated modern procedure in adapting his colors exactly to the mood of the situation. A good deal had been attempted already in a sort of half-hearted and formal manner, but he was the first to seize firmly on the right principles and to carry out his objects with any mastery of resources."