soil will not be in the same kind, but raspberries and purple flowers will succeed the oak, poplars the pine. Thus, beneath the roots of the drama, lay seeds of the historic novel, the romantic epic, which were to take its place to the reader, and for the scene, the oratorios, the opera, and ballet.
Music is the great art of the time. Its dominion is constantly widening, its powers are more profoundly recognized. In the forms it has already evolved, it is equal to representing any subject, can address the entire range of thoughts and emotions. These forms have not yet attained their completeness, and already we discern many others hovering in the vast distances of the Tone-world.
The opera is in this inferior to the drama, that it produces its effects by the double method of dialogue and song. So easy seems it to excite a feeling, and by the orchestral accompaniments to sustain it to the end, that we have not the intellectual exhilaration which accompanies a severer enjoyment. For the same reasons, nothing can surpass the mere luxury of a fine opera.
The oratorio, so great, so perfect in itself, is limited in its subjects; and these, though they must be of the graver class, do not properly admit of tragedy. Minds cannot dwell on special griefs and seeming partial fates, when circling the universe on the wings of the great chorus, sharing the will of the Divine, catching the sense of humanity.
Thus much, as has been given, we demand from music yet another method, simpler and more comprehensive than these. In instrumental music this is given by the symphony, but we want another that shall admit the voice, too, and permit the association of the spectacle.
The ballet seems capable of an infinite perfection. There is no boundary here to the powers of design and expression, if only fit artists can be formed mentally and practically. What could
