Two or three years later the same thing is tried again with the same result.

No theatre, even if it were four times as heavily subsidized as the Theatre-Lyrique, could continue to exist on such resources.

So the result is that they turn to accredited talent and call on such men from outside as Gounod, Felicien David and Victor Masse.

The younger composers at once shout treason and scandal.

Then, they select masterpieces by Mozart and Weber and there are the same outcries and recriminations.