The fact remains, however, that it never is. Seemingly, it never will be until there springs up a sufficiently compelling motive for this desirable procedure.
A second and more novel use of titles may be made under circumstances in which program notes are of small avail. I refer to quotations. Authors frequently quote from other authors. They indicate these borrowings either by inverted commas or by a reference to the original book or its writer. There is no hint of plagiarism in this line of conduct, which is recognized and regular. On the other hand, a composer, who quotes, consciously and intentionally, from another composer, is in danger of being misunderstood. He can, to be sure, label his intention in the printed score. When Meelisande speaks in Ariane et Barbe-Bleue, Dukas cites a phrase from Debussy's Pelléas et Mélisande. In the book of the lyric drama this fact is noted. In performance, however, it cannot be noted. In this particular instance, with Mélisande singing on the stage, Dukas's intention is fairly obvious. Suppose, however, that the composer of a symphony wishes to quote a few bars from Beethoven for some reason of emphasis or irony. How can he indicate this to his auditors? The fact is that he cannot indicate it. He may mention his obligation in the published score, and the conductor
