t of their love, and
thereby loses Esclarmonde, but by his victory in a tournament at
Byzantium he regains her once more.

Massenet's music is a happy combination of Wagner's elaborate system of
guiding themes with the sensuous beauty of which he himself possesses
the secret. As regards the plan of 'Esclarmonde' his indebtedness to
Wagner was so patent, that Parisian critics christened him 'Mlle.
Wagner,' but nevertheless he succeeded in preserving his own
individuality distinct from German influence. No one could mistake
'Esclarmonde' for the work of a German; in melodic structure and
orchestral colouring it is French to the core.

'Werther' was written in 1886, though not actually produced until 1892,
when it was given for the first time at Vienna. The plot of Goethe's
famous novel is a rather slight foundation for a libretto, but the
authors did their work neatly and successfully. In the first act Werther
sees Charlotte cutting bread and butter for her little brothers and
sisters, and falls in love with her. In the second, Charlotte, now
married to Albert, finding that she cannot forget Werther and his
passion, sends him from her side. He departs in despair, meditating
suicide. In the last act Charlotte is still brooding over the forbidden
love, and will not be comforted by the artless prattle of her sister
Sophie. Werther suddenly returns, and after a passionate and tearful
scene, extorts from Charlotte the confession that she loves him. He then
borrows Albert's pistols, and shoots himself in his lodgings, where
Charlotte finds him, and he breathes his last sigh in her arms. Though
in tone and sentiment more akin to 'Manon,' in form 'Werther' resembles
'Esclarmonde.' It is constructed upon a basis of guiding themes, which
are often employed with consummate skill. The uniform melancholy of the
story makes the music slightly monotonous, and though the score cannot
fail to delight musicians, it has hardly colour or variety enough to be
generally popular. 'Le Portrait de Manon,' a delicate little sketch in
one act, and 'Thais,' a clever setting of Anatole France's beautiful
romance, both produced in 1894, will not be likely to add much to
Massenet's reputation. 'La Navarraise,' produced during the same year in
London, was apparently an attempt to imitate the melodramatic
extravagance of Mascagni. The action takes place under the walls of
Bilbao during the Carlist war. Anita loves Araquil, a Spanish soldier,
but his fa