1803.

I have followed you so often in my thoughts that unfortunately I have
neglected to do so in writing. Just a few lines today, to accompany the
inclosed page. Of Mozart's Biography I have heard nothing further, but I
will inquire about it and also about the author. Your beautiful Queen
made many happy while on her journey, and no one happier than my mother;
nothing could have caused her greater joy in her declining years.

Do write me something about the performance of The _Natural Daughter_,
frankly and without consideration for my feelings. I have a mind anyhow
to shorten some of the scenes, which must seem long, even if they are
excellently acted. Will you outline for me sometime the duties of a
concert conductor, so much, at all events, as one of our kind needs to
know in order to form a judgment of such a man, and in case of need, to
be able to direct him? Madame Mara sang on Tuesday in Lauchstaedt; how
it went off I do not yet know. For the songs which I received through
Herr von Wolzogen I thank you mostly heartily in my own name and in the
name of our friends. It was no time to think of producing them. I hope
soon to send you the proof-sheets of my songs, and I beg you to keep
them secret at first, until they have appeared in print.

_Inclosure_

You now have the _Bride of Messina_ before you in print and as you learn
the poet's intentions from his introductory essay, you will know better
how to appreciate what he has done, and how far you can agree with
him. I will, regarding your letter, jot down my thoughts on the subject;
we can come to an understanding in a few words.

[Illustration: K. F. ZELTER, E. A. Seemann]

In Greek tragedy four forms of the chorus are found, representing four
epochs. In the first, between the songs in which gods and heroes are
extolled and genealogies, great deeds, and monstrous destinies are
brought before the imagination, a few persons appear and carry the
spectator back into the past. Of this we find an approximate example in
the _Seven before Thebes_ of, _Eschylus_. Here, therefore, are the
beginnings of dramatic art, the old style. The second epoch shows us the
chorus in the mass as the mystical, principal personage of the piece, as
in the _Eumenides_ and _Supplicants_. Here I am inclined to find the
grand style. The chorus is independent, the interest centres in it; one
might call this the Republican period of dramatic art; the rulers and
the gods are only attendant