The essence of the master's genius is contained in "Faust." Although since then he has composed many works of great merit, yet he has never been inspired to a similar degree. He may have abused certain formulas, and employed the same devices ad nauseam, but at any rate he can claim them as his own. It is not his fault if his imitators have reproduced his mannerisms to so great an extent.
Ernest Reyer once remarked that every one nowadays wrote music in the style of Gounod. "So far," added the witty Academician, "it is still that of Gounod himself that I prefer." This opinion, I venture to think, will probably be endorsed by my readers.
I cannot better terminate this notice on the composer of "Faust" than by reproducing the following sonnet addressed to him by Camille Saint-Saëns:
"Son art a la douceur, le ton des vieux pastels
Toujours il adora vos voluptés bénies,
Cloches saintes, concert des orgues, purs autels;
De son œil clair, il voit les beautés infinies.
Sur sa lyre d'ivoire, avec les Polymnies,
Il dit l'hymne paiën, cher aux Dieux immortels.
'Faust,' qui met dans sa main le sceptre des génies
Egale les Juan, les Raoul et les Tell.
De Shakespeare et de Goethe il dore l'auréole;
Sa voix a rehaussé l'éclat de leur parole,
Leur œvre de sa flamme a gardé le reflet.
Echos du Mont Olympe, échos du Paraclet
Sont redis par sa Muse aux langueurs de créole;
Telle vibre à tous les vents une harpe d'Eole."
