So far, French composers who have profited by Wagner's many innovations have shown themselves shy in following the master in this particular one. Some of them have, it is true, adopted it to a certain extent, and endeavoured to effect a compromise by trying at the same time to retain set pieces of the kind associated with the older forms of opera. Saint-Saëns in "Henri VIII." and "Ascanio," Massenet in "Esclarmonde," to name only two, have exhibited a marked tendency in this direction. It has, however, been reserved for Alfred Bruneau to employ the Wagnerian plan in a more complete way than any French composer has yet done. I am not here venturing to express an opinion as to whether or not the total absence of set form in an opera is advisable. It is evidently quite possible to compose a "lyrical drama" on a different plan than one entailing the strict employment of representative themes. Art should comprise every method that is likely to add to its scope, and the use of _leit-motiven_ opens a vista of illimitable possibilities to the composer of the future. It is a powerful agent of dramatic expression, and one which requires musical ability of a very high order if it is to be employed in any profitable manner. When I mention Alfred Bruneau as being perhaps the first French composer who has applied the Wagnerian system so thoroughly in his "lyrical dramas," it must not be implied that he is in any way a servile imitator of the German master, and he must not be confounded with composers who, having no original ideas of their own, trade upon those of other people. As his friend and collaborator Mons. Louis Gallet remarks in his _Notes d'un Librettiste_, "Son criterium est tout personel." There is one point, for instance, in which he diverges entirely from Wagner. This is in his choice of subjects. Instead of searching for inspiration in the legendary lore so dear to the composer of "Tristan," Bruneau prefers to musically illustrate a story of modern life. His ideas upon the lyrical drama are best expressed in his own words, and I do not scruple to reproduce the following passage from a letter addressed to myself: "Je suis pour l'union aussi intime que possible de la musique et des paroles, et voudrais faire du théâtre vivant, humain et bref. J'aurais aussi l'ambition de traiter une suite de sujets essentiellement Français et modernes d'action comme de sentiments. C'est pourquoi, après 'Le Rêve,' d'un mysticisme bien Français je crois, viendra 'L'Attaque du moulin,' drame pris au cœur saignant de notre pays. Mais la suite n'est qu'un projet que je n'aurai peut-être jamais la force de mettre à exécution."