The connection between opera and tragedy was being perceived to function at the level of the voice itself, in a literal translation of the voice of Jean Racine first on to the stage, and then from the stage of musical declamation to the stage of declamatory music. This brief history of the musicality of Racinian language suggests that something radical, in both senses, happened to that quality in the twentieth century. Both a radical break and a return to a certain kind of root occurred. What Bremond accomplished, besides creating a great deal of confusion, was the disjunction of Racinian language and the voice. In order for 'La fille' to be considered 'musical', it necessarily had to remain unheard. A sound event in England, the musical in Bremond's thought was silent, the site of his paradoxical, figurai reading of Racinian language.