_Prince Igor_, in its finished form, is a compromise between the new and the old methods; for the declamation, although not of such primary importance as with Dargomijsky, is more developed than with Glinka. Borodin keeps to the accepted divisions of Italian opera, and gives to Igor a long aria quite in the traditional style. The music of _Prince Igor_ has some features in common with Glinka's _Russlan_, in which the Oriental element is also made to contrast with the national Russian colouring. But the Eastern music in Borodin's opera is more daring and characteristic. Comparing the two operas, Cheshikin says: "The epic beauty of _Prince Igor_ reminds us of the serene poetry of Goncharov, of the so-called 'poetry of daily life'; while Glinka may be more suitably compared to Poushkin. Borodin's calm, cheerful, objective attitude towards the national life is manifested in the general style of the opera; in the wonderfully serene character of its melody; in the orchestral colour, in the transparency of the harmony, and the lightness and agility of the counterpoint. In spite of his reputation as an innovator, Borodin has introduced nothing startlingly new into this opera; his orchestral style is still that of Glinka.... The poetry of common things exercised such a fascination for Borodin that he completely forgot the heroic tendencies of Glinka. His folk, as represented by him amid an epidemic of alcoholism, and the hard-worked, ubiquitous _goudok_ players, Eroshka and Skoula, throw into the shade the leading characters whose musical outlines are somewhat sketchy and impermanent. Borodin's Igor recalls Glinka's Russlan; Yaroslavna is not a very distinguished personality; Galitsky is not far removed from Eroshka and Skoula; and Konchakovna and Vladimir are ordinary operatic lovers. The chief beauty of Glinka's _Russlan_ lies in the solo parts and in a few concerted numbers. On the other hand, the principal hero of Borodin's opera is 'the folk'; while its chief beauty is to be found in the choruses based on Russian and Tatar folk-song themes. What affects us chiefly in the music may be traced to that normal optimism with which the whole work is impregnated." Borodin, it should be added, had far more humour than Glinka, who could never have created two such broadly and robustly comic types as Skoula and Eroshka. There is a distinctly Shakespearian flavour in the quality of Borodin's humour. In this respect he approaches Moussorgsky.