, to the _eyes_ of the spectator: who ought to be able to
understand what is going on from what he sees taking place, almost
without catching any of the words. No dramatic poem so absolutely
demands this sort of distinctness as the opera-text, for not only is it
more difficult to distinguish words when they are sung, (however
distinctly,) than when they are spoken, but the music tends to carry
the audience into distant regions, and it is necessary that the
attention should be kept directed to the particular point whore the
action is concentrated, _pro tempore_. Then as regards the words, the
composer likes them best when they express the passion, or situation,
to which they refer, _vigorously_ and _concisely_. There is no occasion
for flowery diction, and, above all, there should be no imagery, no
similes.'

"_Ferdinand_. 'Then how about Metastasio, with his exuberance of
similes?'

"_Ludwig_. 'Yes; he had the strange idea that the composer,
particularly in arias, must always have his imagination stirred up by
some poetical comparison. Hence his oft-repeated openings such as "Come
una Tortorella," etc., or "Come Spume in Tempesta," etc.: and in fact,
the cooing of doves and the roar of the sea have often made their
appearance--in the accompaniment, at all events.'

"_Ferdinand_. 'But, while we avoid flowery language, are we to be
allowed any sort of elaboration of interesting situations? For
instance: the young hero sets off to the battle, and bids adieu to
his aged father, the old king, whose country is trembling in the
grasp of a victorious usurper. Or some terrible fate severs a youth
from his beloved. Are neither of them to say anything but just
"fare-thee-well"?'

"_Ludwig_. 'The hero may add a few words about his courage and the
justice of his cause, and the lover may tell his sweetheart that life
will be nothing but a long, painful dream without her. Still, the
simple "fare-thee-well" will be amply sufficient for the Composer--(who
draws his inspiration, not from the words, but from the business and
the situations)--to represent the mental condition of the hero and the
lover with powerful strokes and touches. To stick to the instance you
have adduced; just think in what thousands of most affecting and
heart-breaking ways the Italians have sung the little word "_addio_."
What thousands--ay, and thousands of thousands--of shades musical
expression is capable of! And of course it is just that that is the
marve