from the score. In the second act he moves his listeners only once
--with the attempted repetition of the bell song after Lakme has
recognized her lover. The odor of the poppy invites to drowsy
enjoyment in the beginning, and the first act is far and away the
most gratifying in the opera, musically as well as scenically. It
would be so if it contained only Lakme's song "Pourquoi dans les
grands bois," the exquisite barcarole--a veritable treasure trove
for the composer, who used its melody dramatically throughout the
work--and Gerald's air, "Fantaisie aux divins mensonges." Real
depth will be looked for in vain in this opera; superficial
loveliness is apparent on at least half its pages.




CHAPTER VIII

"PAGLIACCl"


For a quarter of a century "Cavalleria rusticana" and "Pagliacci"
have been the Castor and Pollux of the operatic theatres of Europe
and America. Together they have joined the hunt of venturesome
impresarios for that Calydonian boar, success; together they have
lighted the way through seasons of tempestuous stress and storm. Of
recent years at the Metropolitan Opera House in New York efforts
have been made to divorce them and to find associates for one or
the other, since neither is sufficient in time for an evening's
entertainment; but they refuse to be put asunder as steadfastly as
did the twin brothers of Helen and Clytemnestra. There has been no