anciful in the highest degree, and the instrumental
part a beautiful background of color. Of Debussy's compositions for
orchestra the one to win--and possibly to deserve--the most lasting
popularity is _L'apres-midi d'un Faune_, which is an extraordinary
translation into music of the veiled visions and the shadowy beings of
an eclogue of Mallarme in which, as Edmund Gosse says, "Words are
used in harmonious combinations merely to suggest moods or conditions,
never to state them definitely."[296] By perfect rhythmic freedom, and
by delicately-colored waves of sound Debussy has expressed in a manner
most felicitous just the atmosphere of remoteness, and of primeval
simplicity. By many this work is considered the most hypnotic
composition in existence, and the writer trusts that his readers have
heard a poetic interpretation of it by a fine orchestra. The salient
features of Debussy's style are found in _Pelleas et Melisande_--by
far the most important operatic work since Wagner. Maeterlinck's play
deals with legendary, mysterious, symbolic beings, and the entire
subject-matter was admirably suited to Debussy's genius. As
Maeterlinck says, "The theatre should be the reflex of life, not this
external life of outward show, but the true inner life which is
entirely one of contemplation." This opera is quite different from any
previously written, in that the characters sing throughout in
_recitative_ now calm, now impassioned, but never in set, periodic
arias. In fact, here we have at last a true musical _speech_, which is
indeed another thing from music set to words. Debussy has defended
this peculiar style in the following words: "Melody is, if I may say
so, almost anti-lyric, and powerless to express the constant change of
emotion or life. Melody is suitable only for the song (_chanson_),
which confirms a fixed sentiment. I have never been willing that my
music should hinder, through technical exigencies, the changes of
sentiment and passion felt by my characters. It is effaced as soon as
it is necessary that these should have perfect liberty in their
gestures as in their cries, in their joy as in their sorrow."

[Footnote 293: For an enlightening amplification of this point see the
first chapter of Wallace's _The Threshold of Music_.]

[Footnote 294: See page 193.]

[Footnote 295: For further suggestive comments on Debussy's style
consult the _Essay on Pelleas et Melisande_ by Lawrence Gilman (G.
Schirmer, New York) and