"Ferdinand. 'After what you have said, I can assure you it seems to be anything but an easy matter to write an opera text. Now, this indispensable simpleness of the language; I can't say that I quite see how to----'
"Ludwig. 'How to accomplish it! No! You are so fond of painting with words, and so accustomed to it. But though Metastasio (as I think) has exemplified in his librettos how opera texts ought not to be written, there are quantities of Italian poems which are absolute models of words for music. For instance take the lines, known to the whole world, no doubt:
"Almen si non poss' io
Seguir l'amato bene,
Affetti del cor mio
Seguite-lo per me!"
What can be simpler? Yet, in these few, unpretending words lies the suggestion, or indication, of love and sorrow which the composer comprehends, and can apply all the resources of musical expression to represent. The particular situation in which the words are to be sung will so stir his imagination that he will give the music the most individual character. And this is why you will often find that a poetical composer sets words that are wretched enough to admirable music. In such cases what inspired him was that the matter was genuinely suitable for opera; and as an instance I merely mention Mozart's "Zauberfloete."'
"Ferdinand was going to reply, when, outside the windows, down in the street, the drums were heard beating the générale. This seemed to wake him to the sense of present duty as with an electric shock. Ludwig shook him warmly by the hand.
"'Ah, Ferdinand,' he cried, 'what is to become of Art in these terrible times? Won't it die, like some delicate plant lifting its languid head towards the clouds beyond which the sun has disappeared? Ah! Where are the golden days when we were lads? All that is good is drowned and swept away by this torrent that whirls along, devastating the country. We see bleeding corpses, appearing by glimpses, carried along in its dark billows; and in the horror which seizes us, we slip and lose our footing, we have nothing to hold on to; our cry of terror dies away in the darksome air--victims of inappeasable anger, we sink to earth, and there is no hope of salvation.' Ludwig paused, sunk in his thoughts.
"Ferdinand stood up, and put on his sword and helmet. He stood before Ludwig like the God of War armed for the fray. Ludwig looked up at him admiringly, and a glow came over Ferdinand's face, and he said, in a calm and reassuring tone: