“I have carefully weighed every incident, with all their pros and cons, and it would be a pity to upset the whole business. I think the sea should be depicted twice--at the opening and close of the work. In the introduction I picture it to myself as calm, until Prospero works his spell and the storm begins. But I think this storm should be different from all others, in that it breaks out _at once_ in all its fury, and does not, as generally happens, work itself up to a climax by degrees. I suggest this original treatment because this particular tempest is brought about by enchantment and not, as in most operas, oratorios, and symphonies, by natural agencies. When the storm has abated, when its roaring, screeching, booming and raging have subsided, the Enchanted Island appears in all its beauty and, still more lovely, the maiden Miranda, who flits like a sunbeam over the island. Her conversation with Prospero, and immediately afterwards with Ferdinand, who fascinates her, and with whom she falls in love. The love theme (crescendo) must resemble the expanding and blooming of a flower; Shakespeare has thus depicted her at the close of the first act, and I think this would be something well suited to your muse. Then I would suggest the appearance of Caliban, the half-animal slave; and then Ariel, whose motto you may find in Shakespeare’s lyric (at the end of the first act), ‘Come unto these yellow sands.’ After Ariel, Ferdinand and Miranda should reappear; this time in a phase of glowing passion. Then the imposing figure of Prospero, who relinquishes his magic arts and takes farewell of his past; and finally the sea, calm and peaceful, which washes the shores of the desert island, while the happy inhabitants are borne away in a ship to distant Italy. “As I have planned all this in the order described, it seems to me impossible to leave out the sea in the opening and close of the work, and to call the overture “Miranda.” In your first overture you have unfortunately omitted all reference to Juliet’s nurse, that inspired Shakespearean creation, and also the picture of dawn, on which the love-scene is built up. Your overture is beautiful, but it might have been still more so. And now, please note that I want your new work to be wider, deeper, more mature. That it will have beauty and passion, I think I am safe in predicting. So I wish you all luck and--_vogue la galère!_” _To V. Stassov._ “_January_ 27_th_ (_February_ 8_th_), 1873.