ABSTRACT
This chapter examines the role of literature in aiding Darius Milhaud's search for a distinctive style; it considers his experimentation with the rhythmic potential of language and with the instrumental qualities of the voice by taking a sample of his vocal works from this period. It explores Milhaud's attraction to private texts, his portrayal of women – often through the eyes of men – and the variety of contexts in which he placed the human voice. The most significant and influential writer Milhaud chose was Paul Claudel. Paul Collaer's assertion that 'Milhaud's dramatic concept does not rest on the importance of individual words' does not hold true for Milhaud's early works. Milhaud's lines often respond, not only to the rhythm, but also to the sense of the words. Milhaud brings out the contrast that has been built into the carefully constructed text, showing a more sophisticated attitude to both text and drama than he had managed.
