It is the human element that predominates in Bruneau's compositions which constitutes so powerful a fascination to those who are in sympathy with his ideas. His music is not theatrical in the ordinary acceptation of the term but intensely dramatic, inasmuch as it aims at depicting the innermost details of the action, and describes in searching accents the varied emotions of the leading characters. He has been blamed for his disregard of the so-called rules of harmony, and for apparently revelling in the employment of discords, strange progressions, and harsh modulations. Let it be remembered that there is scarcely a composer of eminence who has not been subjected to the same reproach. To take a few of the most notable instances, it is only necessary to mention the cases of Schumann, Wagner, Berlioz, and Bizet. A name that may carry conviction even further is that of Beethoven. Is it not a fact that within the memory of some who are still amongst us, the "Choral Symphony" was stigmatised as the work of a genius whose powers were on the wane, and this mighty work was pronounced dull and incoherent? The question as to how far a composer may go in his search after novel effects, and what discords he may or may not employ, is one that cannot easily be answered. Where is the musician who will have the presumption to erect himself as the supreme arbiter upon so complex a question, and venture to say to the composer, "Thus far shalt thou go and no further?" Undoubtedly there must be rules of some kind, but these are intended for the student and are not meant to hamper the inspiration of the master. In order to explain my meaning I cannot do better than quote the following extract from the preface of Mr. Ebenezer Prout's admirable work on "Harmony,"[27] which conclusively disposes of the question: "The principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius! Haydn, when asked according to what rules he had introduced a certain harmony, replied that 'The rules were all his very obedient humble servants;' and when we find that in our own time Wagner, or Brahms, or Dvórak, breaks some rule given in old text books, there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words practice must precede theory. The inspired composer goes first, and invents new effects; it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master."