"The following production, illustrating the chief incidents of Ahab's reign, was submitted in the year 1837 to Felix Mendelssohn-Bartholdy, as a theme for one or more sacred oratorios. His famous 'Elijah,' which since then has taken its place among the masterpieces of Handel, Haydn, and Beethoven, had not been given to the world; but on returning this manuscript to its Author, Mendelssohn announced his engagement on the same great subject, adding, that although this work possessed both literary and poetical merit, it was in his opinion too long for an Oratorio, but might well be published as a Metrical Libretto. But for this disappointment, a public having little leisure for songs without music, might yet, in the pauses of their enthusiasm, after hearing the 'Elijah,' have let fall some crumbs of approbation on a poem in which the immortal part of Mendelssohn had found a channel for his farewell inspirations. "... The manuscript was laid aside for nearly twelve years, when, in January, 1849, he [the author] again took it up, resolving to publish it in the form suggested by Mendelssohn; but his death intervened to prevent it, and again it was laid aside.... More than thirty years have thus elapsed since this Libretto underwent the favourable criticism of Mendelssohn ... and after much consideration, the Author's children have at length ventured to offer to the public, 'Elijah,' or the Baalim in Israel...."[3] [Footnote 3: The Rev. James Barry, M.A., who seems to have been curate at Bratton Clovelly for only a few months, died in April, 1849, aged forty-two, at the Parsonage there, and was buried in the centre of the chancel of the church. I am indebted to the Rev. Edward Seymour, M.A., the present rector of Bratton Clovelly, for this information. Strangely enough, Mr. Barry's libretto begins with the familiar Recitative: "As the Lord God of Israel liveth, before whom I stand, there shall not be dew nor rain these years, but according to my word."] The receipt of Mr. Barry's libretto put Mendelssohn on his mettle, and he became very anxious as to the fate of _his_ projected oratorio (of "Elijah"). Klingemann, however, does not seem to have considered the matter as being of such paramount importance. His reply to Mendelssohn's letter of January 9 could not have been very reassuring to the composer, if we may judge from the following letter:-- [MENDELSSOHN TO KLINGEMANN.] "LEIPZIG, _February_ 9, 1838.