recitative.[1] It would seem scarcely credible that so powerful an agent
of the lyric drama should be utterly neglected, among a people who
undoubtedly _claim_ to be considered a musical nation, and whose
composers certainly esteem themselves among those to whom musical fame
might be justly awarded. But such is nevertheless the fact, and we are
not aware of any modern composer of the English school who has fully
availed himself of its powers and capabilities. It has been said of
_Artaxerxes_, that the attempt then made to apply recitative to the
English language is unsuccessful; but it may be asked, whether the long
continued popularity of this work may not, in _some_ degree at least, be
owing to the absence of the incongruous mixture of speech and song.
However this may be, it is at least a singular coincidence, that the
single opera of our language, in which dialogue does not break and
interrupt the unity and consistent action of the drama, should be the
only musical work which has been distinguished by such constant and
enduring marks of popular favour and approbation. Another species of
dramatic music, the _cantabile_ of the Italians, is equally neglected
among us. The _cantabile_ includes much of the most exquisite music of
the Italian masters, and we know of nothing more touchingly beautiful,
throughout the whole range of musical composition, than many of the
_andante cantabili_ of this school. This, also, has been rarely
attempted by the English masters, and their puny efforts will bear no
comparison with the rich, graceful, flowing measure of the true Italian.

[Footnote 1: No. cccxxvii, p. 137.]

All music is, in a greater or less degree, essentially dramatic. Its
beauty often depends, entirely, upon the fidelity and truth with which
nature is followed. Even instrumental music aims at dramatic effect, and
fanciful incidents, and catastrophes are often suggested by the melodies