great genius should see the world through their own spectacles and not feel like allowing another man credit for seeing it through his.
But, on the other hand, we have many instances showing the thorough appreciation some have had for the works of others, and for the promise they gave of greater things. Haydn was one of the best dispositioned men, and from him we would naturally expect to hear pleasant things and gentle criticisms.
When Cherubini first met Haydn, in Vienna, in 1805, the latter was seventy-three years of age, while Cherubini was still in the forties, and just beginning to compose the works that made him famous. The old veteran handed to the younger man one of his latest compositions, remarking—
"Permit me to style myself your musical father, and to call you my son."
No greater compliment could have been paid the younger man. Encouraged and impressed by Haydn's friendliness, Cherubini could not, on parting, restrain his tears.
233.—A PARTICULAR PRIMA DONNA.
Bizet found many difficulties in the production of his celebrated opera, "Carmen." One, which gave him the most trouble, was the dissatisfaction expressed by his prima donna with the aria she was to sing on her first appearance on the stage. He had originally written an air in six-eight time, graceful enough, but not particularly characteristic. This would not do at all for the singer, as she wanted something which would make her first appearance effective. Bizet produced in succession no fewer than thirteen different versions of "Carmen's" aria d'entrata, but none of them realized the prima donna's ideal. Bizet's imagination was exhausted, and the lady was as dissatisfied as ever.
In despair he bethought him of an old Spanish air
