de to realize this truth in a few months, under proper
instruction.

I have dwelt so long on this matter because I have come to the
conclusion, as already stated, that the greatest problem in connection
with German opera is to enlarge the patronage, and induce persons to
reserve their judgment of a "heavy" opera until they have heard it two
or three times. They will soon find that the word "heavy" is a very
relative and changeable term in music. To one who really admires
Shakspere and Homer, a fashionable novel is tedious beyond endurance;
just so, to one who can appreciate "Tristan" or "Euryanthe," Verdi's
"Ernani" and Bellini's "Norma" are heavy as lead, soporific as opium.

The difficulty of understanding subtle harmonies is perhaps the main
reason why English-speaking people are so slow in appreciating and
encouraging the opera. But there are two other important reasons which
may be briefly referred to--religious rigorousness, and a certain
predilection for the ornamental style of singing.

No doubt there was a time when the stage was so profligate that the
Puritans were justified in tabooing it altogether. But that is not now
the case. There are many theatres where plays are given that are not
only pure in tone, but exert a refining and educating influence on all
who hear them. And as for operas, there is hardly one in the modern
repertory that is open to censure on moral grounds. Mr. Carl Rosa
refers to the curious fact that, when circumstances compel him to give
an operatic performance in a hall instead of a theatre, the audiences
are of quite a distinct character, including many who like opera, but
do not wish to go to a theatre. Now, this general condemnation of the
theatre because it is often used for frivolous purposes is just as
unreasonable as it would be to condemn and avoid all novels because
Zola writes novels.

There is, indeed, a positive harm that results from the tabooing of
the theatre by religious people. Why is so large a proportion of our
plays frivolous and vulgar? Because the frivolous and vulgar
predominate among theatre-goers. If the large number of refined
people who avoid the theatre were to attend, this proportion might be
reversed, and more of the managers would find it profitable to bring
out clean and wholesome dramas. Some prominent clergymen have lately
expressed themselves in this sense, and it is probable that a reaction
is at hand that will benefit the cause of serious opera. T