phalanx. She is so powerful that in some cases she would conquer
unaided; for she has the right to say with Medea: 'I, myself, am
enough.'"

Berlioz protested vigorously against Gluck's impious theory[82] and
Wagner's "crime" in making music the slave of speech. Music is the
highest poetry and knows no master.[83] It was for Berlioz, therefore,
continually to increase the power of expression in pure music.

[Footnote 82: Is it necessary to recall the _épître dédicatoire_ of
_Alceste_ in 1769, and Gluck's declaration that he "sought to bring
music to its true function--that of helping poetry to strengthen the
expression of the emotions and the interest of a situation ... and to
make it what fine colouring and the happy arrangement of light and shade
are to a skilful drawing"?]

[Footnote 83: This revolutionary theory was already Mozart's: "Music
should reign supreme and make one forget everything else.... In an opera
it is absolutely necessary that Poetry should be Music's obedient
daughter" (Letter to his father, 13 October, 1781). Despairing probably
at being unable to obtain this obedience, Mozart thought seriously of
breaking up the form of opera, and of putting in its place, in 1778, a
sort of melodrama (of which Rousseau had given an example in 1773),
which he called "duodrama," where music and poetry were loosely
associated, yet not dependent on each other, but went side by side on
two parallel roads (Letter of 12 November, 1778).]

And while Wagner, who was more moderate and a closer follower of
tradition, sought to establish a compromise (perhaps an impossible one)
between music and speech, and to create the new lyric drama, Berlioz,