Page:The history of Mendelssohn's oratorio 'Elijah'.djvu/36

 HISTORY OF MENDELSSOHN'S "ELIJAH."

wished, and have taken them out of the book in which they were. They must, however, be replaced, so do not forget to send them back to me. In the very first of these letters (at the bottom of the first page), you probably allude to the chief difficulty of the text, and the very point in which it is still most deficient — universally accepted and impressive words and thoughts ; for of course it is not my intention to compose what you call ' a Biblical Walpurgis Night.' I have endeavoured to obviate this deficiency by the passages written in Roman letters; but there is still something wanting, even to complete these, and to obtain suitable comprehensive words for the subject. This, then, is the first point to which I wish to direct your attention, and where your assistance is very necessary. Secondly, in the operatic style of most of the oratorio words (where recourse is had to common figures — as, for example, an Israelite, a maiden, Hannah, Micaiah, and others; and where, instead of saying ' this and that is come to pass,' they are made to say, 'Alas ! I see this and that happening'). I consider this very weak, and will not follow such a precedent. However, the everlasting "he spake," etc., is also not right. Both of these are avoided in the text ; but this part still remains its weakest point.
 * dramatic ' arrangement. I cannot endure the half

"Will you consider, too, whether it is justifiable that no other dramatic figure besides Elijah appears? I think it is. He ought, however, at the close, at his ascension to heaven, to have something to say (or to sing). Can you find appropriate words for this

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