for the operettas of Sullivan, despite the efforts of British composers to vitalize it. Holbrooke's attempt to produce an English trilogy seems fated to join previous failures, notwithstanding his virtuosity and his dramatic earnestness. Russian composers for the stage have steadily resisted the invasion of Wagnerian methods. Adhering, first of all, to the tenets of Dargomijsky, individuals have gradually adopted their own standpoint. The most characteristic works are Borodine's _Prince Igor_, Rimsky-Korsakoff's _Sniégourutchka_, _Sadko_, _Mlada_, _Le Coq d'Or_, and Moussorgsky's _Boris Godounoff_ and _Khovanshchina_. In the field of orchestral composition, the acceptance of Wagner's procedure in orchestration is even more universal than his dramatic following. If his system follows logically from the adoption of valve horns and valve trumpets, the enlargement of wind instrument groups and the subdivision of the strings, its far-reaching application is still a matter of amazement to the analyst. Even if it be granted that Wagner himself predaciously absorbed individual methods of treatment from Weber, Meyerbeer, Berlioz, and Liszt, the ultimate originality of his idiom justified his manifold obligations. German composers, except among the followers of Brahms, appropriated his extension of orchestral effect as a matter of course, the most notable being Bruckner, Goldmark, Humperdinck, Mahler, and Strauss. If the two latter in turn can claim original idioms of their own, the antecedents of their styles are none the less evident. French composers from Saint-Saëns to Dukas have made varying concessions to his persuasive sonorities; even the stanch Rimsky-Korsakoff fell before the seduction of Wagnerian amplitude and variety of color. Glazounoff, Taneieff, Scriabine, and other Russians followed suit. Among English composers, Elgar and Bantock fell instinctively into line, followed in some degree by William Wallace and Frederick Delius. If Holbrooke is more directly a disciple of Richard Strauss, that fact in itself denotes an unconscious acknowledgment to Wagner.