mployed to depict that
intercourse with the Gods which stirs the Mortals to a higher life, and
to God-like achievements. Were not the ancient tragedies musically
declaimed, by the way?--and did not that prove clearly the necessity
for a higher medium of expression than ordinary language? The musical
tragedies have inspired composers of genius in a quite special
way--with a lofty, I might almost say, a _saintly_ style of writing. It
is as if we mortals were wafted upwards, in some condition of mystic
consecration, on the pinions of the tones of the golden harps of the
Cherubim and Seraphim, to the realms of light, where we learn the
mystery of our existence. What I would say, Ferdinand, is to point out
the close relationship that there is between the old Church Style and
the Tragic Opera, whence the old writers have framed a glorious style
of their own, of which modern composers have no idea--not even
excepting Spontini, with all his wealth and exuberance of fancy. The
glorious Gluck, who stands apart by himself, a hero, I need say nothing
about; but as an instance how the grand tragic style has influenced far
inferior talents, think of the chorus of the Priests of Night in
Piccini's "Dido."'

"_Ferdinand_. 'This is just as it used to be in the golden old days
when we were together. As you talk in that inspired sort of way of your
Art, you raise me up to the level of ideas which otherwise I never
should have dreamt of; and, I assure you, at this moment I consider
that I really know a good deal about music. In fact, I think no
passable line of poetry would occur to me without its appropriate
clothing of music.'

"_Ludwig_. 'Is not this the true inspiration of the poet of opera? I
maintain that he should "think" the music belonging to his lines just
as much>as the composer does; and that the only thing which
differentiates the one from the other is the distinct recognition of
particular melodies, and of particular qualities and peculiarities of
the Bounds of instruments which are co-operating and involved in the
effects; in fact, the easy, habitual command over the "Inner Kingdom"
of Music. But I have still to tell you my ideas about _Opera Buffa_.'

"_Ferdinand_. 'You will scarcely have a good word to say for that,
particularly if it is in modern costume.'

"_Ludwig_. 'On the contrary, I consider that it is just when it is in
the costume of the day that not only is it at its best, but that it is
the only genuine form