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 with success, although the score contains some of Gounod’s choicest inspirations, notably the well-known air, “Lend me your aid.” La Reine de Saba was adapted for the English stage under the name of Irene. The non-success of this work proved a great disappointment to Gounod, who, however, set to work again, and this time with better results, Mireille, the fruit of his labours, being given for the first time at the Théâtre Lyrique on the 19th of March 1864. Founded upon the Mireio of the Provençal poet Mistral, Mireille contains much charming and characteristic music. The libretto seems to have militated against its success, and although several revivals have taken place and various modifications and alterations have been made in the score, yet Mireille has never enjoyed a very great vogue. Certain portions of this opera have, however, been popularized in the concert-room. La Colombe, a little opera in two acts without pretension, deserves mention here. It was originally heard at Baden in 1860, and subsequently at the Opéra Comique. A suavely melodious entr’acte from this little work has survived and been repeatedly performed.

Animated with the desire to give a pendant to his Faust, Gounod now sought for inspiration from Shakespeare, and turned his attention to Romeo and Juliet. Here, indeed, was a subject particularly well calculated to appeal to a composer who had so eminently qualified himself to be considered the musician of the tender passion. The operatic version of the Shakespearean tragedy was produced at the Théâtre Lyrique on the 27th of April 1867. It is generally considered as being the composer’s second best opera. Some people have even placed it on the same level as Faust, but this verdict has not found general acceptance. Gounod himself is stated to have expressed his opinion of the relative value of the two operas enigmatically by saying, “Faust is the oldest, but I was younger; Roméo is the youngest, but I was older.” The luscious strains wedded to the love scenes, if at times somewhat cloying, are generally in accord with the situations, often irresistibly fascinating, while always absolutely individual. The success of Roméo in Paris was great from the outset, and eventually this work was transferred to the Grand Opéra, after having for some time formed part of the répertoire of the Opéra Comique. In London it was not until the part of Romeo was sung by Jean de Reszke that this opera obtained any real hold upon the English public.

After having so successfully sought for inspiration from Molière, Goethe and Shakespeare, Gounod now turned to another famous dramatist, and selected Pierre Corneille’s Polyeucte as the subject of his next opera. Some years were, however, to elapse before this work was given to the public. The Franco-German War had broken out, and Gounod was compelled to take refuge in London, where he composed the “biblical elegy” Gallia for the inauguration of the Royal Albert Hall. During his stay in London Gounod composed a great deal and wrote a number of songs to English words, many of which have attained an enduring popularity, such as “Maid of Athens,” “There is a green hill far away,” “Oh that we two were maying,” “The fountain mingles with the river.” His sojourn in London was not altogether pleasant, as he was embroiled in lawsuits with publishers. On Gounod’s return to Paris he hurriedly set to music an operatic version of Alfred de Vigny’s Cinq-Mars, which was given at the Opéra Comique on the 5th of April 1877 (and in London in 1900), without obtaining much success. Polyeucte, his much-cherished work, appeared at the Grand Opéra the following year on the 7th of October, and did not meet with a better fate. Neither was Gounod more fortunate with Le Tribut de Zamora, his last opera, which, given on the same stage in 1881, speedily vanished, never to reappear. In his later dramatic works he had, unfortunately, made no attempt to keep up with the times, preferring to revert to old-fashioned methods.

The genius of the great composer was, however, destined to assert itself in another field—that of sacred music. His friend Camille Saint-Saëns, in a volume entitled Portraits et Souvenirs, writes:

Saint-Saëns, indeed, has formulated the opinion that the three above-mentioned works will survive all the master’s operas. Among the many masses composed by Gounod at the outset of his career, the best is the Messe de Sainte Cécile, written in 1855. He also wrote the Messe du Sacré Cœur (1876) and the Messe à la mémoire de Jeanne d’Arc (1887). This last work offers certain peculiarities, being written for solos, chorus, organ, eight trumpets, three trombones, and harps. In style it has a certain affinity with Palestrina. The Redemption, which seems to have acquired a permanent footing in Great Britain, was produced at the Birmingham Festival of 1882. It was styled a sacred trilogy, and was dedicated to Queen Victoria. The score is prefixed by a commentary written by the composer, in which the scope of the oratorio is explained. It cannot be said that Gounod has altogether risen to the magnitude of his task. The music of The Redemption bears the unmistakable imprint of the composer’s hand, and contains many beautiful thoughts, but the work in its entirety is not exempt from monotony. Mors et vita, a sacred trilogy dedicated to Pope Leo XIII., was also produced for the first time in Birmingham at the Festival of 1885. This work is divided into three parts, “Mors,” “Judicium,” “Vita.” The first consists of a Requiem, the second depicts the Judgment, the third Eternal Life. Although quite equal, if not superior to The Redemption, Mors et vita has not obtained similar success.

Gounod was a great worker, an indefatigable writer, and it would occupy too much space to attempt even an incomplete catalogue of his compositions. Besides the works already mentioned may be named two symphonies which were played during the ’fifties, but have long since fallen into neglect. Symphonic music was not Gounod’s forte, and the French master evidently recognized the fact, for he made no further attempts in this style. The incidental music he wrote to the dramas Les Deux Reines and Jeanne d’Arc must not be forgotten. He also attempted to set Molière’s comedy, Georges Dandin, to music, keeping to the original prose. This work has never been brought out. Gounod composed a large number of songs, many of which are very beautiful. One of the vocal pieces that have contributed most to his popularity is the celebrated Meditation on the First Prelude of Bach, more widely known as the Ave Maria. The idea of fitting a melody to the Prelude of Bach was original, and it must be admitted that in this case the experiment was successful.

Gounod died at St Cloud on the 18th of October 1893. His influence on French music was immense, though during the last years of the 19th century it was rather counterbalanced by that of Wagner. Whatever may be the verdict of posterity, it is unlikely that the quality of individuality will be denied to Gounod. To be the composer of Faust is alone a sufficient title to lasting fame.

GOURD, a name given to various plants of the order Cucurbitaceae, especially those belonging to the genus Cucurbita, monoecious trailing herbs of annual duration, with long succulent stems furnished with tendrils, and large, rough, palmately-lobed leaves; the flowers are generally large and of a bright yellow or orange colour, the barren ones with the stamens united; the fertile are followed by the large succulent fruit that gives the gourds their chief economic value. Many varieties of Cucurbita are under cultivation in tropical and temperate climates, especially in southern Asia; but it is extremely difficult to refer them to definite specific groups, on account of the facility with which they hybridize; while it is very doubtful whether any of the original forms now exist in the wild state. Charles Naudin, who made a careful and interesting series of observations upon this genus, came to the conclusion that all varieties known in European gardens might be referred to six original species; probably three, or at most four, have furnished the edible kinds in ordinary cultivation. Adopting the specific