The third movement is to be played _pizzicato_; the quicker the better, but I do not quite know how fast it is possible to play _pizzicato_.” _To S. I. Taneiev._ “SAN REMO, _January_ 2_nd_ (14_th_), 1878. “ ... Very probably you are quite right in saying that my opera is not effective for the stage. I must tell you, however, I do not care a rap for such effectiveness. It has long been an established fact that I have no dramatic vein, and now I do not trouble about it. If it is really not fit for the stage, then it had better not be performed! I composed this opera because I was moved to express in music all that seems to cry out for such expression in _Eugene Oniegin_. I did my best, working with indescribable pleasure and enthusiasm, and thought very little of the treatment, the effectiveness, and all the rest. I spit upon ‘effects’! Besides, what are effects? For instance, if _Aïda_ is effective, I can assure you I would not compose an opera on a similar subject for all the wealth of the world; for I want to handle human beings, not puppets. I would gladly compose an opera which was completely lacking in startling effects, but which offered characters resembling my own, whose feelings and experiences I shared and understood. The feelings of an Egyptian Princess, a Pharaoh, or some mad Nubian, I cannot enter into, or comprehend. Some instinct, however, tells me that these people must have felt, acted, spoken, and expressed themselves quite differently from ourselves. Therefore my music, which--entirely against my will--is impregnated with Schumannism, Wagnerism, Chopinism, Glinkaism, Berliozism, and all the other ‘isms’ of our time, would be as out of keeping with the characters of _Aïda_ as the elegant speeches of Racine’s heroes--couched in the second person plural--are unsuited to the real Orestes or the real Andromache. Such music would be a _falsehood_, and all falsehoods are abhorrent to me. Besides, I am reaping the fruits of my insufficient harvest of book-learning. Had I a wider acquaintance with the literatures of other countries, I should no doubt have discovered a subject which was both suitable for the stage and in harmony with my taste. Unfortunately I am not able to find such things for myself, nor do I know anyone who could call my attention to such a subject as Bizet’s _Carmen_, for example, one of the most perfect operas of our day. You will ask what I actually require. I will tell you. Above all I want no kings, no tumultuous populace, no gods, no pompous marches--in short, none of those things which are the attributes of ‘grand opera.’ I am looking for an intimate yet thrilling drama, based upon such a conflict of circumstance as I myself have experienced