amatized _Volkslied_. With regard
to Boieldieu's work, this remark indicates at the same time a strong
development of what has been described as the 'amalgamating force of
French art and culture'; for it must be borne in mind that the subject
treated is Scotch. The plot is a compound of two of Scott's novels: the
'Monastery' and 'Guy Mannering.' Julian, _alias_ George Brown, comes
to his paternal castle unknown to himself. He hears the songs of his
childhood, which awaken old memories in him; but he seems doomed to
misery and disappointment, for on the day of his return his hall and
his broad acres are to become the property of a villain, the unfaithful
steward of his own family. Here is a situation full of gloom and sad
foreboding. But Scribe and Boieldieu knew better. Their hero is a
dashing cavalry officer, who makes love to every pretty woman he comes
across, the 'White Lady of Avenel' among the number. Yet no one who has
witnessed the impersonation of George Brown by the great Roger can
have failed to be impressed with the grace and noble gallantry of the
character."

The tune of "Robin Adair," introduced by Boieldieu and described as "le
chant ordinaire de la tribu d'Avenel," would hardly be recognized by a
genuine Scotchman; but what it loses in homely vigor it has gained in
sweetness. The musician's taste is always gratified in Boieldieu's two
great comic operas by the grace and finish of the instrumentation, and
the carefully composed _ensembles_, while the public is delighted with
the charming ballads and songs. The airs of "La Dame Blanche" are more
popular in classic Germany than those of any other opera. Boieldieu may
then be characterized as the composer who carried the French operetta
to its highest development, and endowed it in the fullest sense with all
the grace, sparkle, dramatic symmetry, and gamesome touch so essentially
the heritage of the nation.

Auber's position in art may be defined as that of the last great
representative of French comic opera, the legitimate successor of
Boieldieu, whom he surpasses in refinement and brilliancy of individual
effects, while he is inferior in simplicity, breadth, and that firm
grasp of details which enables the composer to blend all the parts into
a perfect whole. In spite of the fact that "La Muette," Auber's greatest
opera, is a romantic and serious work, full of bold strokes of
genius that astonish no less than they please, he must be held to be
essential