Page:The history of Mendelssohn's oratorio 'Elijah'.djvu/29

 THE LIBRETTO.

��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 rabble and popular rabble — in fact, in opposition to the whole world, and yet borne on angels' wings. Is this the inference you also draw from the subject, and is this the sense in which }ou conceived an affection for it? I am most anxious to do full justice to the dramatic element, and, as you sa}', no epic narrative must be introduced. I am glad to learn that you are searching out the always heart-affecting sense of the Scriptural words ; but if I might make one observation, it is that 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., etc. Not that it disturbs me that Elijah, for example, first speaks of assembling the people, then forthwith addresses them — such liberties are the natural privileges of a composition such as an oratorio ; but I should like to have the representation itself as spirited as possible ; for instance, it annoys me that Elijah does not reply to Ahab's words, No. i6, till No. i8, various other speeches and a chorus intervening. I should like to have had an instant and eager rejoinder, etc., etc.

" But we are no doubt likely to agree about this; and I would only entreat you, when you resume your work, to think of this wish of mine. Above all, accept my thanks for your kindness, and write to me soon on the same subject. — Ever yours,

" Felix M.-B." ( 13 )

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