ore specifically
expressive, since it is founded on a characteristic theme, called
l'idee fixe which typifies the heroine, _e.g._

[Music]

[Footnote 228: The best edition is the complete one, beautifully
engraved and with critical comments, by Malherbe and Weingartner. This
is expensive, but should be found in any large library.]

[Footnote 229: The only citations possible in the Supplement are the
Overture and portions of a few of the others.]

[Footnote 230: Particularly to be recommended are the following: the
essay in _Musical Studies_ by Newman; that by R. Rolland in _Musiciens
d'aujourd'hui_ (in French and in English); _Berlioz et la societe de
son temps_ by J. Tiersot; the essay in _Studies in Modern Music_ by
Hadow; Berlioz's own _Memoires_ (in French and in English) and his
entertaining essays, _A Travers Chants_, _Grotesques de la Musique_
and _Soirees d'Orchestre_; the excellent resume of Berlioz's writings
in the _Amateur Series_ by W.F. Apthorp; the _Symphony since
Beethoven_ by Weingartner; and, above all, the monumental work by
Boschot in three parts--_La Jeunesse d'un Romantique_, _Un Romantique
sous Louis Philippe_, _Le Crepuscule d'un Romantique_. There is an
amusing but far from convincing assault against Berlioz as a programme
composer and, to a certain extent, against Romanticism in general, in
the _New Laocoon_ by Professor Irving Babbitt.]

[Footnote 231: On the title page of the autograph copy of the full
score is inscribed the following quotation from King Lear: "As flies
to wanton boys are we to the Gods; they kill us for their sport."]

This theme, with modifications appropriate to the changes in the
character and the environment, is repeated in each movement. As for
the theme itself, frankly it does not amount to much; it certainly
fails to take our emotions by storm or sing itself into our hearts.
Berlioz's harmonization is very bald, and as to his attempts at
development,[232] the less said the better. Of course whatever Berlioz
writes for the orchestra _sounds_ well; of that there is no doubt. But
this is not enough; any more than we are convinced by a person's
statements or arguments merely because he happens to have a beautiful
speaking voice. This dramatization of a musical theme was, after all,
nothing iconoclastically new and Berlioz is perfectly right in
claiming that he was merely extending the possibilities of that same
type of theme as is found in Beethoven himself, _e.g._