Early in January, 1846, Mendelssohn and Schubring met, and the plan of the oratorio was doubtless fully discussed between them. Soon after his return to Dessau, Schubring returned Mendelssohn's MS. of the "sketch," to which he had added a number of comments and suggestions. This "sketch" and its annotations are too long to be inserted here, but an extract or two may be quoted. [SCHUBRING TO MENDELSSOHN.][17] "In oratorios, chorales have produced the most powerful effect on me when they came _after_ other pieces of music [Schubring evidently knew Bach's "Passion"]. Dignity, simplicity, nobility, are then most perceptible in these circumstances. Therefore, it would be better to have no chorales at the beginning.... The overture, picturing a famine, must represent a period of three years...." [Footnote 17: "Briefwechsel," p. 208.] Upon the words "Hear the prayer and petition of Thy servant, O Lord," Schubring remarks: "Here it would be well to have a reference to God's own promise that He will answer prayer. (Daniel ix., 18; Psalm xxv., 6; Isaiah liv., 10, 7). Then the chorale--'Out of the depths I cry to Thee' (_Aus tiefer Noth_), verses 1 and 4, increasing in intensity. Pray do not reject this suggestion. There are plenty of praying people who heartily endorse the petition of Elijah." Schubring's continued interest in the oratorio is shown in the following letter:-- [SCHUBRING TO MENDELSSOHN.] "DESSAU, _February_ 3, 1846.[18] "... I am curious to know how you are getting on with 'Elijah.' I must confess that I am getting more and more interested in it, and greatly look forward to it. Be sure and keep well at it. If some things in the text do not please you, they will come right in their proper time." [Footnote 18: "Briefwechsel," p. 219.] In May (1846), only three months before the oratorio was performed at Birmingham, Mendelssohn again sought the aid of Schubring. He wrote:-- "LEIPZIG, _May_ 23, 1846.[19]