"Felix."
To the foregoing, Schubring replied in a long letter, from which the following is an extract:—
[Schubring to Mendelssohn.]
"Dessau, June 15, 1846.[20]
"... I want to put down a few thoughts concerning the close of the oratorio. I see most distinctly that the oratorio can have no other than a New Testament ending; the Old Testament (Malachi) and also the New Testament demand this in terms of the most definite kind. Elijah must help to transform the old into the new covenant—that gives him his great historical importance. Let Handel in his Old Testament oratorios move within this narrow circle—personages like Saul, etc., have no further meaning; but with Elijah, with you, and in our day, it must be otherwise. Therefore, I think the sense of the ending must remain essentially as I have suggested—the words themselves are immaterial.
"Your enquiry whether Elisha may sing soprano is comical. Such a question should not be put by one who has set Christ's words for a chorus.[21] There can be no doubt that at that time Elisha was no more a child. The word Knabe (Knappe) is to be understood as referring to service, not to youth, like ὁ παῖς in classical Greek. One who ploughs with twelve yoke of oxen (1 Kings xix., 19) is no child. Do you know any passage where Elisha is called a boy? I think there is none. The first reference to him is in 1 Kings xix., 19 [? 16]....
"I earnestly hope that some of these suggestions may suit you, so that the work can get on. The news that Part I. is already finished has given me great joy."
A short letter (August 8, 1846), in which Schubring sends Mendelssohn a further suggestion, completes the "Elijah" correspondence between the composer and his clerical friend.
Schubring, in his pleasant "Reminiscences" already referred to ([p. 10]), thus speaks of his connection with the composer in compiling the book of "St. Paul," Mendelssohn's first oratorio:—
"Subsequently to 1832, we frequently discussed the subject of oratorio 'texts.' With regard to 'St. Paul,' a considerable amount of preliminary labour had been got through before I knew anything about it. At Mendelssohn's request I undertook a certain further amount of work of a subordinate kind, such as connecting and introducing suitable passages and arias.... He always proved himself a thoughtful artist, and strove to obtain a clear appreciation of each separate point—such, for instance, as the admissibility of the chorale, of the narrative, recitatives, etc. He rejected, also, much that was suggested, being so well acquainted with his Bible, that he obtained a great deal of valuable material himself. He was, however, extremely grateful for any assistance."