Massenet, but he regarded Gabriel Fauré as the supreme master of the mélodie, and favoured some of Fauré's chosen poets, including Victor Hugo, Théophile Gautier and Paul Verlaine. He was only thirteen when he wrote the Hugo setting "Si mes vers avaient des ailes", later included in his first collection of 20 Mélodies (1895). Johnson writes that the song displays all the distinguishing marks of the composer's style: His first published set of songs was Chansons grises (Songs in Grey, 1890), which included a setting of Verlaine's "La bonne chanson" that the poet preferred to Fauré's well known version of it. The commentator James Day observes that the songs in the set display "a maturity quite remarkable in a sixteen-year-old – and an empathy with the poet quite unexpected in a musician of any age". After Chansons grises Hahn composed further song cycles over the next 25 years. Rondels (1898–99), with words by Charles d'Orléans, Théodore de Banville and Catulle Mendès, was an example of the composer's fascination with the past, setting original and modern versions of the old rondel verse form. In Études latines (1900) Hahn set ten verses by Leconte de Lisle, evoking Graeco-Roman antiquity. In three of the songs the soloist and pianist are joined by a chorus. Hahn again experimented with combinations of voices in Venezia (1901), a set of six lyrics in Venetian dialect, in which the final song is a duet for tenor and soprano with chorus. For Les feuilles blessés (The Injured Leaves, 1901–1906) Hahn turned to a contemporary poet, Jean Moréas, known for his symbolist verse. In 1907 Hahn returned to older forms with Chansons et madrigaux, setting words by d'Orléans, Jean-Antoine de Baïf and others, in a cycle of six songs for four voices. Love Without Wings (1911) is a set of three verses in English by Mary Robinson, and Hahn again set English texts in Five Little Songs (1915), with verses by Robert Louis Stevenson. Grove lists a final cycle, Chansons espagnoles (1947). In addition to the song cycles, two collections of Hahn's mélodies, comprising twenty songs each, were published during his lifetime. Both sets include some songs previously published individually, and there were twelve other songs not part of a cycle or included in a published collection. Operas, opérettes and musical comedies Hahn completed five operas, and left an incomplete one. The first, L'Île du rêve, an "idylle polynésienne"