[292] The first authentic use being probably by Dargomijsky in his opera the Stone Guest.
[293] For an enlightening amplification of this point see the first chapter of Wallace's The Threshold of Music.
[294] See [page 193].
[295] For further suggestive comments on Debussy's style consult the [Essay on Pelléas et Mélisande] by Lawrence Gilman (G. Schirmer, New York) and in particular an article by the same author in the Century Magazine for August, 1918.
[296] Gosse also calls it a famous miracle of intelligibility.
[297] The best books yet written on Debussy and his style are those by Mrs. Liebich and Louis Laloy. Consult also the comprehensive essay by E.B. Hill in Vol. III of the Art of Music.
[298] See the 2d volume of Great Composers by D.G. Mason and also the essay on Debussy in Contemporary Composers by the same author.
[299] According to Ernest Newman in a well-known article in the Musical Times (London).
[300] An excellent collection of modern French songs may be found in the two volumes published by the Oliver Ditson Co. in the Musicians Library.
[301] While he was riding a bicycle.