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the composer of these songs (Hetty
Johnson) and the songs themselves have no marked change. A fine piece of
playing, especially the double-stopping on the piccolo, is the happy
antithesis of the rather tiresome music of the "Elisabeth" overture.
The subject of this opera is so deeply bound up with national and religious
history that it has the advantage of giving one occasion to discuss
educational problems in their relation to artistic development. It is
altogether probable that Stendhal intended this work as a protest against
the revolution; but as a matter of fact it has nothing of the revolutionary
in it. The differences between a figure of the past and a figure of the
present are not really expressed in a musical way. It is more a study of a
woman's yearning for affection and of the influence of her years on her
character. Thus the influence of the revolution is confined to the
political sphere, and we must refer everything else to the unfortunate
situation of the heroine.
The situation of the author is more or less the same, and he also
repeats his mistakes. The second act does not seem to be of the
characteristic Stendhal's. It is too well contrived for a man who has
already finished a novel, and the situations in which he leads his
heroine around the Paris streets seem contrived, as if he were lacking in
imagination. But, on the other hand, he is clever enough to throw doubt
on this very accusation. As in _The Charterhouse of Parma_, the
temptation for this girl, who at first seems to be a young lady
discourteous toward her admirers, to go on using her sex to induce them
to marry her is brought up so neatly that the temptation might not be be359ba680
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