ane folly to try to sing important roles on
the stage after one or two years of study; it may perhaps be endured
for one or two years without evil results, but it can never be
carried on indefinitely.

Agents and managers commit a crime when they demand enormous exertions
of such young singers. The rehearsals, which are held in abominably
bad air, the late hours, the irregular life that is occasioned by
rehearsals, the strain of standing around for five or six hours in a
theatre,--all this is not for untrained young persons. No woman of
less than twenty-four years should sing soubrette parts, none of less
than twenty-eight years second parts, and none of less than
thirty-five years dramatic parts; that is early enough. By that time
proper preparation can be made, and in voice and person something can
be offered worth while. And our fraternity must realize this sooner or
later. In that way, too, they will learn more and be able to do more,
and fewer sins will be committed against the art of song by the
incompetent.

SECTION XXXVI

CONCERNING EXPRESSION

When we wish to study a role or a song, we have first to master the
intellectual content of the work. Not till we have made ourselves a
clear picture of the whole should we proceed to elaborate the details,
through which, however, the impression of the whole should never be
allowed to suffer. The complete picture should always shine out
through all. If it is too much broken into details, it becomes a thing
of shreds and patches.

So petty accessories must be avoided, that the larger outline of the
whole picture shall not suffer. The complete picture must ever claim
the chief interest; details should not distract attention from it. In
art, subordination of the parts to the whole is an art of itself.
Everything must be fitted to the larger lineaments that should
characterize a masterpiece.

A word is an idea; and not only the idea, but how that idea in color
and connection is related to the whole, must be expressed. Therein is
the fearsome magic that Wagner has exercised upon me and upon all
others, that draws us to him and lets none escape its spell. That is
why the elaboration of Wagner's creations seems so much worth while to
the artist. Every elaboration of a work of art demands the sacrifice
of some part of the artist's ego, for he must mingle the feelings set
before him for portrayal with his own in his interpretation, and thus,
so to speak, lay bare