And there is much besides that Ravel and Debussy have in common. They have each been profoundly influenced by Russian music, "Daphnis et Chloe" showing the influence of Borodin, "Pelleas et Melisande" that of Moussorgsky. Both have made wide discoveries in the field of harmony. Both have felt the power of outlying and exotic modes. Both have been profoundly impressed by the artistic currents of the Paris about them. Both, like so many other French musicians, have been kindled by the bright colors of Spain, Ravel in his orchestral Rhapsody, in his one-act opera "L'Heure espagnol" and in the piano-piece in the collection "Miroirs" entitled "Alborada del Graciozo," Debussy in "Iberia" and in some of his preludes. Indeed, a parallelism exists throughout their respective works. Debussy writes "Homage a Rameau"; Ravel "Le Tombeau de Couperin." Debussy writes "Le Martyre de Saint-Sebastien"; Ravel projects an oratorio, "Saint-Francois d'Assise." Ravel writes the "Ondine" of the collection entitled "Gaspard de la nuit"; Debussy follows it with the "Ondine" of his second volume of preludes. Both, during the same year, conceive and execute the idea of setting to music the lyrics of Mallarme entitled "Soupir" and "Placet futile." Nevertheless, this fact constitutes Ravel in no wise the imitator of Debussy. His work is by no means, as some of our critics have made haste to insist, a counterfeit of his elder's. Did the music of Ravel not demonstrate that he possesses a sensibility quite distinct from Debussy's, in some respects less fine, delicious, lucent, in others perhaps even more deeply engaging; did it not represent a distinct development from Debussy's art in a direction quite its own, one might with justice speak of a discipleship. But in the light of Ravel's actual accomplishment, of his large and original and attractive gift, of the magistral craftsmanship that has shown itself in so many musical forms, from the song and the sonatine to the string-quartet and the orchestral poem, of the talent that has revealed itself increasingly from year to year, and that not even the war and the experience of the trenches has driven underground, the parallelism is to be regarded as necessitated by the spiritual kinship of the men, and by their contemporaneity.