es of antiquity
and he had no illusion about the implacable illness which slowly but
surely would result in his premature death. A constantly increasing
deafness was his greatest trouble. This cruel infirmity had made
frightful progress when, in 1899, the Arenes de Beziers opened its doors
for the second time to _Dejanire_. In spite of everything, including his
ill health which made the trip very painful, he wanted to see his work
once more. He heard nothing, however--neither the artists, the choruses,
nor even the applause of the several thousand spectators who encored it
enthusiastically. A little later he passed on, leaving in his friends'
hearts and at the work-tables of his collaborators a void which it is
impossible to fill.

[Illustration: The First Performance of _Dejanire_ at Les Arenes de
Beziers]

CHAPTER VI

HISTORY AND MYTHOLOGY IN OPERA

Oceans of ink have been spilled in discussing the question of whether
the subjects of operas should be taken from history or mythology, and
the question is still a mooted one. To my mind it would have been better
if the question had never been raised, for it is of little consequence
what the answer is. The only things worth while are whether the music is
good and the work interesting. But _Tannhauser_, _Lohengrin_, _Tristan_
and _Siegfried_ appeared and the question sprang up. The heroes of
mythology, we are told, are invested with a prestige which historical
characters can never have. Their deeds lose significance and in their
place we have their feelings, their emotions, to the great benefit of
the operas. After these works, however, _Hans Sachs_ (Die Meistersinger)
appeared, and although he is not mythical at all he is a fine figure
nevertheless. But in this case the plot is of little account, for the
interest lies mainly in the emotions--the only thing, it appears, which
music with its divine language ought to express.

It is true that music makes it possible to simplify dramatic action and
it gives a chance, as well, for the free expression and play of
sentiments, emotions and passions. In addition, music makes possible
pantomimic scenes which could not be done otherwise, and the music
itself flows more easily under such conditions. But that does not mean
that such conditions are indispensable for music. Music in its
flexibility and adaptability offers inexhaustible resources. Give Mozart
a fairy tale like the _Magic Flute_ or a lively comedy such as _Le