while
reading it, remarked to him, "Would not that be splendid for an
oratorio?" The prominent scenes treated are the drought prophecy, the
raising of the widow's son, the rival sacrifices, the appearance of the
rain in answer to Elijah's appeal, Jezebel's persecution of Elijah, the
sojourn in the desert, his return, his disappearance in the fiery
chariot, and the finale, which reflects upon the meaning of the sacred
narrative. The scenes themselves indicate the dramatic character of the
oratorio. In this respect, indeed, Mendelssohn may almost be said to have
created a new school of oratorio construction. "Elijah" could be placed
upon the stage with scenery, costume, and properties as a sacred opera,
and make a powerful impression,--almost as much so, indeed, as Rossini's
"Moses." Mendelssohn's own testimony on this point is interesting. In a
letter written Nov. 2, 1838, to Pastor Julius Schubring, who was
assisting him in the preparation of the book, he says:--

"I figured to myself Elijah as a grand, mighty prophet, such as we
might again require in our own day,--energetic and zealous, but also
stern, wrathful, and gloomy; a striking contrast to the court myrmidons
and popular rabble,--in fact, in opposition to the whole world, and yet
borne on angel's wings.... I am anxious to do justice to the dramatic
element, and, as you say, no epic narrative must be introduced.... I
would fain see the dramatic element more prominent, as well as more
exuberant and defined,--appeal and rejoinder, question and answer,
sudden interruptions, etc."

Again, on the 6th of December, he writes:--

"In such a character as that of Elijah, like every one in the Old
Testament (except, perhaps, Moses), it appears to me that the dramatic
should predominate, the personages should be introduced as acting and
speaking with fervor,--not, however, for Heaven's sake, to become mere
musical pictures, but inhabitants of a positive, practical world such
as we see in every chapter of the Old Testament; and the contemplative
and pathetic element, which you desire, must be entirely conveyed to
our apprehension by the words and the mood of the acting personages."

The introduction to the oratorio is prefaced by a brief but very
impressive recitative,--Elijah's prophecy of the drought; leading
directly to the overture, a sombre, despairing prelude, picturing the
distress which is to follow as the curse settles down upon