t convenient, I could here discover some rules which I
have given to myself in writing of an opera in general, and of this
opera in particular; but I consider, that the effect would only be, to
have my own performance measured by the laws I gave; and,
consequently, to set up some little judges, who, not understanding
thoroughly, would be sure to fall upon the faults, and not to
acknowledge any of the beauties; an hard measure, which I have often
found from false critics. Here, therefore, if they will criticise,
they shall do it out of their own _fond_; but let them first be
assured that their ears are nice; for there is neither writing nor
judgment on this subject without that good quality. It is no easy
matter, in our language, to make words so smooth, and numbers so
harmonious, that they shall almost set themselves. And yet there are
rules for this in nature, and as great a certainty of quantity in our
syllables, as either in the Greek or Latin: but let poets and judges
understand those first, and then let them begin to study English. When
they have chewed a while upon these preliminaries, it may be they will
scarce adventure to tax me with want of thought and elevation of fancy
in this work; for they will soon be satisfied, that those are not of
the nature of this sort of writing. The necessity of double rhimes,
and ordering of the words and numbers for the sweetness of the voice,
are the main hinges on which an opera must move; and both of these are
without the compass of any art to teach another to perform, unless
nature, in the first place, has done her part, by enduing the poet
with that nicety of hearing, that the discord of sounds in words shall
as much offend him, as a seventh in music would a good composer. I
have therefore no need to make excuses for meanness of thought in many
places: the Italians, with all the advantages of their language, are
continually forced upon it, or, rather, affect it. The chief secret is
the choice of words; and, by this choice, I do not here mean elegancy
of expression, but propriety of sound, to be varied according to the
nature of the subject. Perhaps a time may come when I may treat of
this more largely, out of some observations which I have made from
Homer and Virgil, who, amongst all the poets, only understood the art
of numbers, and of that which was properly called _rhythmus_ by the
ancients.

The same reasons, which depress thought in an opera, have a stronger
effect upo