Perhaps the most graceful of all Rimsky-Korsakov's early operas is _The Snow Maiden_, in the music of which he has reflected the indelible impressions of a childhood spent amid sylvan surroundings. There is something of the same vernal impulsion in pages of _The Snow Maiden_ of which we are conscious in Wagner's Forest Murmurs. What a profound loss to the poetry of a nation is the disappearance of its forests! It is not only the rivers which grow drier and poorer for the ruthless wielding of the axe. None of Korsakov's operas show a greater profusion of little lyrical gems than this one, which embodies the Slavonic legend of the spring. The Snow Maiden is the daughter of jolly King Frost and the Fairy Spring. She is brought up by her parents in the solitary wintry woods, because envious Summer has foretold her death when the first ray of sunlight and love shall touch her icy beauty. But the child is attracted by the songs of the shepherd Lel, whom she has seen sporting with the village girls in the meadows. She longs to lead a mortal's life, and her parents unwillingly consent, and confide her to a worthy peasant couple who promise to treat her as a daughter. The Fairy Spring bids her child to seek her should she be in trouble--"you will find me by the lake-side in the valley and I will grant your request whatever it may be" are the parting words of her mother. Then the Snow Maiden begins her sad mortal existence. She admires the gay shepherd, who does not respond to her fancy. Mizgyr, a young Tatar merchant, falls madly in love with her, and for her sake deserts his promised bride Kupava. The passionate Kupava appears at the Court of the king of Berendei and demands justice. The fickle lover makes but one defence: "O, Tsar," he says, "if you could but see the Snow Maiden." At this juncture she appears, and the King, beholding her beauty, cannot believe that she is heartless. He promises her hand and rich rewards to any one of his young courtiers who can woo and win her before the next sunrise. In a wonderful forest scene we are shown the arcadian revels of the people of Berendei. Lel makes love to the deserted Kupava; while Mizgyr pursues the Snow Maiden with his passionate addresses. The wood-spirits interfere on her behalf and Mizgyr gets lost in the forest. The Snow Maiden sees Lel and Kupava wandering together under the trees and endeavours to separate them, but in vain. In her trouble she remembers her mother and seeks her by the lake-side. The Fairy Spring appears, and moved by her daughter's entreaties, she accords her the power to love like a mortal. When the Snow Maiden sees Mizgyr again she loses her heart to him, and speaks of the new, sweet power of love which she feels stirring within her. But even as she speaks, a ray of sunlight pierces the clouds, and, falling on the young girl, melts her body and soul into the rising spring waters. Mizgyr, in despair, kills himself, and the