The words of an opera ought to be good, and yet need not of necessity be heard. They should be poetical that they may inspire first the composer and afterwards the singer; and they should be ryhthmical and sonorous in order that the latter may be able to sing them with due effect. Above all they ought not to be ridiculous, lest the public should hear them and laugh at the music, just where it was intended that it should affect them to tears. Everything ought to be good at the opera down to the rosin of the fiddlers, and including the words of the libretto. Even the chorus should have tolerable verses to sing, though no one would be likely ever to hear them. Indeed, it is said that at the Grand Opera of Paris, by a tradition now thirty years old, the opening chorus in _Robert le Diable_ is always sung to those touching lines--which I confess I never heard on the other side of the orchestra:-- La sou-| pe aux choux | se fait dans la mar |-mite Dans la | marmi-|-te on fait la soupe aux | choux. I have said nothing about the duty of the composer in selecting his libretto and setting it to music, but of course if he be a man of taste he will not willingly accept a collection of nonsense verses. English composers, however, have not much choice in this respect, and all we can ask of them is that they will do their best with what they have been able to obtain; not indulging in too many repetitions, and not tiring the singer and provoking such of the audience as may wish to "catch" the words by setting more than half a dozen notes to the same monosyllable especially if the monosyllable occurs in the middle of a line, and the vowel e, or worse still, i, in the middle of the monosyllable. One of our most eminent composers, Mr. Vincent Wallace, has given us a striking example of the fault I am speaking of in his well-known trio--"Turn on old Time thy hour-glass" (_Maritana_) in which, according to the music, the scanning of the first half line is as follows:-- Tŭrn ōn | ŏld Tī | ĭ-ī || ĭ-ĭ-ĭ--ime | &c. [Sidenote: WORDS FOR MUSIC.] To be sure Time is infinite, but seven sounds do not convey the notion of infinity; and even if they did, it would not be any the more pleasant for a singer to have to take a five note leap, and then execute five other notes on a vowel which cannot be uttered without closing the throat. If I had been in Mr. Vincent Wallace's place, I should, at all events, have insisted on Mr. Fitzball making one change. Instead of "Old Time," he should have inserted "Old Parr." Tŭrn ōn | ŏld Pā-| ă-ā || ă-ă-ă-arr | &c., would not have been more intelligible to the audience than--"Turn on old Ti-i-i-i-i-i-ime, &c., and it would have been a thousand times easier to sing. Nor in spite of the little importance I attach to the phraseology of the libretto when listening to "music in a dramatic form," would I, if I were a composer, accept such a line as-- "When the proud land of Poland was ploughed by the hoof,"