We now arrive at the work through which Massenet is best known in this country, one which perhaps displays the peculiar nature of his talent to the greatest advantage. "Manon," that very fascinating musical setting of the Abbé Prévost's romance, was first played at the Opéra Comique in 1884. For twelve years no new opera by Massenet had been produced at this theatre, and he had since then conquered celebrity as a dramatic composer and as an orchestral writer. The famous novel of the Abbé Prévost had already previously been utilised for operatic purposes by Auber, and has since been used as an opera text by the Italian composer Puccini. It furnished Massenet with a subject particularly suited to his muse. Apropos of Auber's setting, the following story is related: Auber did not enjoy the reputation of being a great reader. One day he received a visit from a friend, who found him at his writing-table. Upon inquiring what he was working at, Auber replied: "I am busy with the first act of my new opera."--"By whom is the book?"--"By Scribe."--"Might I ask its title and subject?"--"Manon Lescaut."--"Manon! that splendid masterpiece?"--"The romance; do you mean a romance?" asked Auber.--"Yes, certainly."--"Mon Dieu! I have never read that," said Auber.--"What! you write an opera on the subject of Manon, and have not read the story?"--"True; I have not got it in my library, for I have just been looking for it."--"Well, borrow it from Scribe."--"But I don't think Scribe has read it either," said Auber, "he may have glanced at it to get the situations, but Scribe never wastes his time if he can help it." Massenet's opera contains an innovation which has a certain importance and deserves to be noted. It is well known that the old-fashioned _opéra comique_ comprised spoken dialogue. The tendency of late years has been to abandon this illogical custom, and the ideas of most composers nowadays tend in this direction. Certain ingrained habits are hard to get rid of, and even now there are composers of eminence who either have not the courage or inclination to break with a custom so antagonistic to the principles of the lyrical drama.