Still dealing briefly with beginnings, one may point to the dramatic cantatas-particularly in Italy, but found in France as well-or madrigal plays, by which, in distinction to what may be called little comedies with music, this essential "operatic" feature in the union of the arts of speech and song, comes out with special clearness. In Italy then, the land which owns Puccini as one of its most distinguished sons, the opera had its rise; and in Dafne, the first child of a new art, it is curious to note, it immediately turned aside into one of those many by-paths which led it very far away from the goal of its promise. Curious again is the reason for its first fall-the desire of the leading singer for vocal display, and the introduction of long vocal flourishes, which, having nothing to do with the case, yet pleased the public mightily. In this Dafne-the score of which has been lost-it was the great singer Archilei who was the offender. Yet again a strange thing comes down to us after these many years. Peri, the composer, was highly delighted with the interpolations and the vocal gymnastics.