in connection. The most direct is that for which music expresses the emotions of the will itself, and the most indirect that of conceptions denoted by words. When the language of the feelings is in question the reason does not willingly sit entirely idle. Music is certainly able with the means at its own disposal to express every movement of the will, every feeling; but by the addition of words we receive beside* this the objects of these feelings, the motives which occasion them. The music of an opera, as it is presented in the score, has a completely independent, separate, and, as it were, abstract existence for itself, to which the incidents and persons of the piece are foreign, and which follows its own unchanging rules; therefore it can produce its full effect without the libretto. But this music, since it was composed with reference to the drama, is, as it were, the soul of the latter; for, in its connection with the incidents, persons, and words, it becomes the expression of the inner significance of all those incidents, and of their ultimate and secret necessity which depends upon this significance. The pleasure of the spectator, unless he is a mere gaper, really depends upon an indistinct feeling of this. Yet in the opera music also shows its heterogeneous nature and higher reality by its entire indifference to the whole material of the incidents; in consequence of which it everywhere expresses the storm of the passions and the pathos of the feelings in the same way, and its tones accompany the piece with the same pomp, whether Agamemnon and Achilles or the dissensions of a bourgeois family form its material. For only the passions, the movements of the will, exist for it, and, like God, it sees only the hearts. It never assimilates itself to the natural; and therefore, even when it accompanies the most ludicrous and extravagant farces of the comic opera, it still preserves its essential beauty, purity, and sublimity; and its fusion with these incidents is unable to draw it down from its height, to which all absurdity is really foreign. Thus the profound and serious
