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 bizarre sensation of eating a pink bonbon stuffed with snow;" Saint-Saëns's Henry VIII is "a grand historical opera." All this is witty and some of it is sound. However, according to J. G. Prod'homme, Debussy did not write everything he signed. This critic ascribes an article entitled Effin Seuls! which appeared in 1915 in S.I.M. under Debussy's name, to a disciple, and he also informs us that the score for d'Annunzio's Martyre de Saint Sébastien was only finished on the day agreed upon by the collaboration of other disciples, very familiar with the Debussy manner.

On these four men any case for musicians as writers of prose must be rested. Berlioz, it must be admitted, stands the test. Schumann and Liszt as authors would be completely forgotten (are, indeed, more or less forgotten) were it not for their music. Debussy's criticisms have not even been collected in book form, although doubtless they will be.