rhythmic freedom, and by delicately-colored waves of sound De-
bussy has expressed in a manner most felicitous just the atmo-
sphere 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 in-
terpretation of it by a fine orchestra. The salient features of
Debussy’s style are found inPelléas et Mélisande—by far the
most important operatic work since Wagner. Maeterlinck’s play
deals with legendary, mysterious, symbolic beings, and the en-
tire 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 dif-
ferent from any previously written, in that the characters sing
throughout inrecitativenow 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 hin-
der, through technical exigencies, the changes of sentiment and
passion felt by my characters. It is effaced as soon as it is nec-
essary 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’sThe Threshold of Music.]
[Footnote 294: See page 193.]
[Footnote 295: For further suggestive comments on Debussy’s
style consult theEssay on Pelléas et Mélisandeby Lawrence
Gilman (G. Schirmer, New York) and in particular an article by
the same author in the Century Magazine for August, 1918.]
[Footnote 296: Gosse also calls it afamous miracle of intelligi-
bility.]
Now that we may look forward to no more compositions from
Debussy[297]—he died in March, 1918—it is certainly fitting to
attempt a forecast as to the permanent worth of his achieve-
ments and his influence upon future development. Like all mu-
sic his compositions may be judged from several points of view: