In her article, Mary Jane Humphrey approaches the idea of conceiving an opera of "The White Mulberry Tree," by Willa Cather. Humphrey highlights peculiar operatic aspects in Cather's chapter, comparing them with other important masterpieces, and evidencing Cather's appreciation of Operas. Humphrey's article is eight pages long. Throughout the paragraphs, the author develops a study in which she demonstrates how the narrative's setting and language and the characters' behavior work on making "The White Mulberry Tree" an opera. Humphrey starts by mentioning Cather's preface in Gertrude Hall's book "Wagnerian Romances . In this piece, Cather assumed that she had tried to transfer an operatic scene upon a narrative, but it was very difficult. Cather did not make it clear when or where she had tried to do so. Some scholars have discussed that it was done in The Song of the Lark. But according to her studies, Humprey affirms that Cather's attempting of transferring an Opera upon a narrative happened in "The White Mulberry Tree  chapter from the book "O Pioneers! . Willa Cather wrote this book while she was experiencing Opera intensively, especially Tristan and Isold by Richard Wagner, which portrayed youthful and yearning. Humphrey added that Cather was also inspired by the harvest on the wheat field in Red Cloud to write "The White Mulberry Tree . The author tried to trace "The White Mulberry Tree  writing as this: Cather was attracted to the story of illicit love (the short story "The Bohemian Girl ), then she read Gertrude Hall's book of Operas; finally, she went to Nebraska and the scenery of the wheat fields assembled her mind. Emil and Marie's love story can be conceived as an Opera due to its musical symbolism, background and allusion. The setting, compounded by the Church and the orchard, is presented as dramatic, intense and full of strong feelings. In this context, we can highlight two crowded scenes from "The