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On ,h. occasion of the publication of The Book of Christopher Columbus at the Newhaven Yale University Press, Paul Claudei was invited to give a lecture in February, 1930 (Claudel 1965,7472)1. If there is anything I have come to appreciate in my reading of this lecture on Drama and Music ("Le Drame et Ia Musique") and related to that, Le Liq.tre de Chnstophe Colomb (fftst performed in 1930) and Claudel's correspondence with his collaborator the composer Darius Milhaud, it is the quest for creativity through breadth, fusion and innovation which breaks down generic, geographic, temporal, national and, to some extent, religious barriers. In his Yale lecture, Claudel begins by stating why he must move beyond the type of music and drama currently popular, namely 'Wagner's opera. One can only imagine the laughter he must have provoked at comments such as the following (referring to Tiistcm\:

"Ne pas accepter les parois": Claudel's Call in America for a new form of Drama and Music