The Serapion Brethren, Vol. I.

by E. T. A. Hoffmann

"Ferdinand. 'That reminds me of another difficulty which we meet with in writing for you composers: I mean the extraordinary brevity and conciseness which you insist upon. All our efforts to portray this or that situation or burst of passion in properly descriptive language are so much wasted labour. You will have the whole affair comprised in a line or two; and even these few lines you twist about and turn upside-down just as you take it in your heads.'

"Ludwig. 'I think the writer of the words of an opera ought to be something like a scene painter, and paint his picture correctly as regards the drawing, but in broad, powerful lines; then the music will be what will make it appear in proper light and shade, and in correct perspective, so that it shall have a proper effect of life, and what seemed only meaningless dashes of colour prove to be forms instinct with meaning, standing out prominently in relief.'

"Ferdinand. 'So that what we have to do is to give you a sketch merely, not a finished poem?'

"Ludwig. 'No, no; that is not what I mean at all! It is scarcely necessary to say that the poet of opera must observe, as regards the arrangement, the disposition, of the whole, all the rules essential to dramatic composition; but what he has to take special care for is to so order his scenes that the subject-matter may unfold itself, clearly and intelligibly, to the eyes of the spectator: who ought to be able to understand what is going on from what he sees taking place, almost without catching any of the words. No dramatic poem so absolutely demands this sort of distinctness as the opera-text, for not only is it more difficult to distinguish words when they are sung, (however distinctly,) than when they are spoken, but the music tends to carry the audience into distant regions, and it is necessary that the attention should be kept directed to the particular point whore the action is concentrated, pro tempore. Then as regards the words, the composer likes them best when they express the passion, or situation, to which they refer, vigorously and concisely. There is no occasion for flowery diction, and, above all, there should be no imagery, no similes.'

"Ferdinand. 'Then how about Metastasio, with his exuberance of similes?'

"Ludwig. 'Yes; he had the strange idea that the composer, particularly in arias, must always have his imagination stirred up by some poetical comparison. Hence his oft-repeated openings such as "Come una Tortorella," etc., or "Come Spume in Tempesta," etc.: and in fact, the cooing of doves and the roar of the sea have often made their appearance--in the accompaniment, at all events.'

"Ferdinand. 'But, while we avoid flowery language, are we to be allowed any sort of elaboration of interesting situations? For instance: the young hero sets off to the battle, and bids adieu to his aged father, the old king, whose country is trembling in the grasp of a victorious usurper. Or some terrible fate severs a youth from his beloved. Are neither of them to say anything but just "fare-thee-well"?'

"Ludwig. 'The hero may add a few words about his courage and the justice of his cause, and the lover may tell his sweetheart that life will be nothing but a long, painful dream without her. Still, the simple "fare-thee-well" will be amply sufficient for the Composer--(who draws his inspiration, not from the words, but from the business and the situations)--to represent the mental condition of the hero and the lover with powerful strokes and touches. To stick to the instance you have adduced; just think in what thousands of most affecting and heart-breaking ways the Italians have sung the little word "addio." What thousands--ay, and thousands of thousands--of shades musical expression is capable of! And of course it is just that that is the marvellous mystery of the Tone-Art that, just where language comes to an end, she is only beginning to disclose a perennial fountain of fresh forms of expression.'

"Ferdinand. 'Then what the opera-poet has to do is--to strive to attain the utmost simplicity, as far as the words are concerned; it will be enough to suggest the situation, in clear and forcible language.'

"Ludwig. 'Exactly: because the composer has to draw his inspiration from the matter, the business and the situation--not from the words. And not only is imagery to be avoided, but everything in the shape of a reflection is a bugbear to the composer.'