need to-day—a man strong and zealous, full of bitterness and scorn, the antagonist of the rabble, whether of courtiers or populace, well nigh the antagonist of all the world, yet borne aloft as on the wings of angels. Did that strike you also, and how came you to think of it? My object is to make the story dramatic; as you say, the epic style of narrative cannot come into it. That you look for the universal significance which goes to one’s heart in the Biblical words pleases me much: one thing I might say, which is that the dramatic element should here and there be very pregnantly and forcibly apparent. Speech and retort, question and answer, interruption of one speaker by another, all these and similar points are wanted. It is not that I object to Elijah being made first to speak of the assembly of the people, then immediately to the assembly; such a freedom is, of course, among the privileges of the oratorio; but in this mode of presentation I would gladly see as much naturalness as possible. Thus it puts me out that Elijah should only answer in ‘number 18’ to Ahab’s words in ‘16’ with several speeches and a chorus placed between. I would have liked a vigorous piece of dialogue there, etc. But on these points we shall very soon agree, only remember this if you can, in working further. With many thanks for your kindness.—Always yours,
Felix M. B.
