the music scarcely pretends to do more than furnish a suitable accompaniment to it.  Of late years Massenet has confined himself principally to works of slight calibre, which have been on the whole more successful than many of his earlier and more ambitious efforts.  ‘Sapho’ (1897), an operatic version of Daudet’s famous novel, and ‘Cendrillon’ (1899), a charming fantasia on the old theme of Cinderella, both succeeded in hitting Parisian taste.  No less fortunate was ‘Griselidis’ (1901), a quasi-mediaeval musical comedy, founded upon the legend of Patient Grizel, and touching the verge of pantomime in the characters of a comic Devil and his shrewish spouse.  Of Massenet’s later works none has been more successful than ’Le Jongleur de Notre Dame’ (1902), which, besides winning the favour of Paris, has been performed at Covent Garden and in many German towns with much success.  Here we find Massenet in a very different vein from that of ‘Manon,’ or indeed any of his earlier works.  The voluptuous passion of his accustomed style is exchanged for the mystic raptures of monasticism.  Cupid has doffed his bow and arrows and donned the conventual cowl.  ‘Le Jongleur’ is an operatic version of one of the prettiest stories in Anatole France’s ‘Etui de Nacre.’  Jean the juggler is persuaded by the Prior of the Abbey of Cluny to give up his godless life and turn monk.  He enters the monastery, but ere long is distressed to find that while his brethren prove their devotion to the Blessed Virgin by their skill in the arts of painting, music and the like, he can give no outward sign of the faith that is in him.  At last he bethinks him of his old craft.  He steals into the chapel and performs before the image of Our Lady the homely antics which in old days delighted the country people at many a village fair.  He is discovered by the Prior, who is preparing to denounce the sacrilege when the image comes to life and bends down to bless the poor juggler who has sunk exhausted on the steps of the altar.  The Prior bows in awe before this manifestation of divine graciousness and the juggler dies in the odour of sanctity.  Massenet’s music catches the spirit of the story with admirable art.  As regards melodic invention it is rather thin, but the workmanship is beyond praise.  The opening scene at the village fair is appropriately bright and gay, but the best music comes in the second act where the monks are gathered together in the convent hall, each busied over his particular task.  Here occurs the gem of the work, the Legend of the Sage-bush, which is sung to the juggler-monk by his good friend the convent cook.  Rarely has Massenet written anything more delightful than this exquisite song, so fresh in its artful simplicity, so fragrant with the charm of mediaeval monasticism.