"Felix did not enter upon his task without the fullest consideration. The first suggestion was to set the chorus in unison throughout, and to recitative interspersed with solos; and as nearly as possible to intone or recite the words, with accompaniment of such instruments only as may be supposed in character with the time of Sophocles,--flutes, tubas, and harps, in the absence of lyres. I opposed to this plan that the voice parts would be intolerably monotonous, without the compensatory clearness of the text being attained.... "Nevertheless Felix made the attempt to carry out this view, but after a few days he confessed to me that it was impracticable; that I was right in maintaining the impossibility of making the words clear in choral singing, except in a few places that are obviously suited for recitative;[31] that the chanting of a chorus would be vexatiously monotonous, tedious, and unmusical; and that accompaniments for so few instruments would give so little scope for variety of expression that it would make the whole appear as a mere puerile imitation of the ancient music, about which, after all, we knew nothing. He concluded therefore that the choruses must be sung, as the parts must be recited, not to assimilate themselves with the usages of Attic tragedy (which might easily lead us into absurdity) but as we would now express ourselves in speech and song.... With this I fully concurred; and Felix set, so vigorously to work, that in a few weeks he played me sketches, and by the end of September nearly the whole chain of choruses was completed. Besides my delight at the beauty of these choruses, they confirmed me in the certainty that Felix's genius was eminently dramatic. They not only gave the key to every scene, the expression to each separate verse, from the narrow complacency of the Theban citizens to their heartful and exalted sympathy, but also a dramatic accent soaring far beyond the words of the poet. I allude particularly to the dithyrambus that occurs between Creon's attempt to rescue Antigone and the relation of its terrible failure. This song of praise really consists entirely of glorifying appeals to Bacchus, and its dramatic application lies only in the verse:-- 'She was its pride, Who, clasping the Thunderer, died; And now, seeking its lost repose, We pray thee to come and heal its woes. Oh, hither bend; From thy Parnassian heights descend.'