might be taken as the exercises of the lower grades; whereas the
intense longing after "the Opera," which troubles the
sanctimonious devotions of the adepts, may be accepted as the
mark of the higher and highest grades. If a single member, for
once only, were to achieve a success with an opera, it is more
than probable that the entire "school" would explode. But,
somehow, no such success has hitherto been achieved, and this
keeps the school together; for, every attempt that happens to
fail, can be made to appear as a conscious effort of abstinence,
in the sense of the exercises of the lower grades; [Footnote: For
a curious example of such exercises, see Ferdinand Hiller's "Oper
ohne Text;" a set of pianoforte pieces, a quatre mains.] and "the
opera," which beckons in the distance like a forlorn bride, can
be made to figure as a symbol of the temptation, which is to be
finally resisted--so that the authors of operatic failures may be
glorified as special saints.

Seriously speaking, how do these musical gentlemen stand with
regard to "THE OPERA?" Having paid them a visit in the concert-
room to which they belong, and from which they started, we shall
now, for the sake of "conducting," look after them at the
theatre.

Herr Eduard Devrient, in his "Erinnerungen," has given us an
account of the difficulties his friend Mendelssohn met with in
the search for a textbook to an opera. It was to be a truly
"GERMAN" opera, and the master's friends were to find the
materials wherewith to construct it. Unfortunately, they did not
succeed in the quest. I suspect there were very simple reasons
for this. A good deal can be got at by means of discussion and