revoke his dismissal of Vincent, whereupon Mireille speedily recovers and is united to her lover.  Gounod’s music seems to have borrowed the warm colouring of the Provencal poet’s romance.  ‘Mireille’ glows with the life and sunlight of the south.  There is little attempt at dramatic force in it, and the one scene in which the note of pathos is attempted is perhaps the least successful in the whole opera.  But the lighter portions of the work are irresistible.  ‘Mireille’ has much of the charm of Daudet’s Provencal stories, the charm of warmth and colour, independent of subject.  More than one version of the opera exists.  That which is now most usually played is in three acts.  In the first version of the work there is a curious scene, in which Ourrias is drowned by a spectral ferryman in the waters of the Rhone, but this is now rarely performed.

In 1869 was produced ‘Romeo et Juliette,’ an opera which, in the estimation of the majority of Gounod’s admirers, ranks next to ‘Faust’ in the catalogue of his works.  The libretto, apart from one or two concessions to operatic convention, is a fair piece of work, and at any rate compares favourably with the parodies of Shakespeare which so often do duty for libretti.  The opening scene shows the ball in Capulet’s house and the first meeting of the lovers.  The second act is the balcony scene.  The third includes the marriage of Romeo and Juliet in Friar Laurence’s cell, with the duels in the streets of Verona, the death of Mercutio, and the banishment of Romeo.  The fourth act opens with the parting of the lovers in Juliet’s chamber, and ends with Friar Laurence giving Juliet the potion.  The last act, after an elaborate orchestral movement describing the sleep of Juliet, takes place in the tomb of the Capulets.  MM.  Barbier and Carre could not resist an opportunity of improving upon Shakespeare, and prolonged Romeo’s death agony, in order to enable him to join in a final duet with Juliet.

The composer of the third act of ‘Faust’ could hardly fail to be attracted by ‘Romeo and Juliet.’  Nevertheless Gounod was too pronounced a mannerist to do justice to Shakespeare’s immortal love-story.  He is, of all modern composers, the one whose method varies least, and throughout ‘Romeo et Juliette’ he does little more than repeal in an attenuated form the ideas already used in ‘Faust.’  Yet there are passages in the opera which stand out in salient contrast to the monotony of the whole, such as the exquisite setting of Juliet’s speech in the balcony scene, beginning—­

    ‘Thou knowest the mask of night is on my face,’

which conveys something more than an echo of the virginal innocence and complete self-abandonment of Shakespeare’s lines, or the more commonplace but still beautiful passage at the close of the act; suggested by Romeo’s line—­

    ‘Sleep dwell upon thine eyes.’