These observations apply with especial force to the _dramatic_ music, or compositions of the English school. The term opera, is incorrectly used in England. The proper meaning of the word is, a musical drama, consisting of recitative airs and concerted pieces; without the intervention of spoken dialogue, it should consist of music, and music alone, from the beginning to the end. With us it has been popularly applied to what has been well characterized as "a jargon of alternate speech and song," outraging probability in a far higher degree than the opera properly so called, and singularly destructive of that illusion or deception in which the pleasure derived from dramatic representations principally consists. Music is in itself no mean vehicle of expression; but, when connected with speech or language, it gives a vast additional force and power to the expression of the particular passion or feeling which the words themselves contain. It appears, as one listens to an opera, as if the music were but a portion, or a necessary component part of the language of the beings who move before us on the scene. We learn to deem it part of their very nature and constitution; and it appears, that, through any other than the combined medium of speech and song, the passions, we see exhibited in such intensity, could not be adequately expressed. The breaking up of this illusion by the intervention of mere dialogue, is absolutely painful; there is a sudden sinking from the ideal to the real, which shocks the sense, and at once destroys the fabric of the imagination. Rousseau says of the lyric drama, that "the melodies must be separated by speech, but speech must be modified by music; the ideas should vary, but the _language_ should remain the same. This language once adopted, if changed in the course of a piece, would be like speaking half in French and half in German. There is too great a dissimilarity between conversation and music, to pass at once from one to the other; it shocks both the ear and probability. Two characters in dialogue ought either to speak or sing; they cannot do alternately one and the other. Now, recitative is the means of union between melody and speech by whose aid, that which is merely dialogue becomes recital or narrative in the drama, and may be rendered without disturbing the course of melody." Recitative is peculiarly adapted to the expression of strong and violent emotion. The language of the passions is short, vivid, broken, and impetuous; the most abrupt transitions and modulations which are observed in nature, may be noted down in recitative. Writing recitative is but committing to paper the accent and intonation, in short, the _reading_ of the language to be delivered by the performer; and the composer may almost be considered as a master of elocution, writing down that reading of a passage which he thinks may best express the passion or the sentiment of the words. The effect of