He uses also a few typical themes (Leitmotive) of his own invention, and to them it might be possible, by ingenious study of their relation to text and situation, to attach significances in the manner of the Wagnerian handbooks; but I do not think that such processes occupied the composer's mind to any considerable extent, and the themes are not appreciably characteristic.
His most persistent use of a connecting link, arbitrarily chosen, is found in the case of the first motive of the theme, which he treats fugally in the introduction, and which appears thereafter to the end of the chapter (a, in the list of themes printed herewith).

What might be called personal themes are the opening notes of "The Star-Spangled Banner" for Pinkerton and the melody (d) which comes in with Yamadori, in which the Japanese tune used by Sir Arthur Sullivan in "The Mikado" is echoed.

The former fares badly throughout the score (for which no blame need attach to Signor Puccini), but the latter is used with capital effect, though not always in connection with the character.
If Signor Puccini had needed the suggestion that Japanese music was necessary for a Japanese play (which of course he did not), he might have received it when he saw Mr.Belasco's play in London.

For the incidental music in that play Mr.William Furst provided Japanese tunes, or tunes made over the very convenient Japanese last.

Through Mr.Belasco's courtesy I am able to present here a relic of this original "Butterfly" music.