brings into view the great bleak monolith that the work of Moussorgsky really is, the great consciousness it rears silently, accusingly against the sky. As collieries rear themselves, grim and sinister, above mining towns, so this music rears itself in its Russian snows, and stands, awful and beautiful. And, of late, the single shaft has out-topped the glamorous Wagnerian halls. The operas of Moussorgsky have begun to achieve the eminence that Wagner's once possessed. To a large degree, it is the change of times that has advanced and appreciated the art of Moussorgsky. Although "Boris" saw the light at the same time as "Die Goetterdaemmerung," and although Moussorgsky lies chronologically very near the former age, he is far closer to us in feeling than is Wagner. The other generation, with its pride of material power, its sense of well-being, its surge toward mastery of the terrestrial forces, its need of luxury, was unable to comprehend one who felt life a grim, sorrowful thing, who felt himself a child, a crone, a pauper, helpless in the terrible cold. For that was required a less naive and confident generation, a day more sophisticated and disabused and chastened. And so Moussorgsky's music, with its poor and uncouth and humble tone, its revulsion from pride and material grandeur and lordliness, its iron and cruelty and bleakness, lay unknown and neglected in its snows. Indeed, it had to await the coming of "Pelleas et Melisande" in order to take its rightful place. For while Moussorgsky may have influenced Debussy artistically, it was Debussy's work that made for the recognition and popularization of Moussorgsky's. For the music of Debussy is the delicate and classical and voluptuous and aristocratic expression of the same consciousness of which Moussorgsky's is the severe, stark, barbaric; the caress as opposed to the pinch. Consequently, Debussy's art was the more readily comprehensible of the two. But, once "Pelleas" produced, the assumption of "Boris" was inevitable. Moussorgsky's generation had arrived. The men who felt as he, who recognized the truth of his spare, metallic style, his sober edifices, had attained majority. A world was able to perceive in the music of the dead man its symbol.