THE CAREER OF MASCAGNI It would be foolish to question or attempt to deny the merits of the type of Italian opera established by Mascagni's lucky inspiration.

The brevity of the realistic little tragedy, the swiftness of its movement, its adherence to the Italian ideal of melody first, its ingenious combination of song with an illuminative orchestral part--these elements in union created a style which the composers of Italy, France, and Germany were quick to adopt.

"Pagliacci" was the first fruit of the movement and has been the most enduring; indeed, so far as America and England are concerned, "Cavalleria rusticana" and "Pagliacci" are the only products of the school which have obtained a lasting footing.

They were followed by a flood of Italian, French, and German works in which low life was realistically portrayed, but, though the manner of composition was as easily copied as the subjects were found in the slums, none of the imitators of Mascagni and Leoncavallo achieved even a tithe of their success.

The men themselves were too shrewd and wise to attempt to repeat the experiment which had once been triumphant.
In one respect the influence of the twin operas was deplorable.