Undoubtedly much remains to be done before we can claim for the English as a nation an equal amount of that fondness for opera which is so notable a characteristic of our Continental brethren; that we are moving somewhat slowly in that direction is perhaps, for the present, sufficient matter for congratulation. Lovers of opera in the vernacular have not so very much to encourage them as to the ultimate realization of the ideas they cherish, but those who are content to be satisfied with progress that is steady, if still slow, may see in England of to-day much in the growing appreciation for better music on the part of the masses upon which to congratulate themselves, and upon which also to build hopes for the future. CHAPTER XVI. HOW TO LISTEN TO AND ENJOY OPERA. Feelings of disappointment—Expectations—The language difficulty—Why the story is hard to follow—What we go to the opera to hear—Some suggestions—To grasp the story—To realize the style of the music —Re-hearing necessary—How to begin to study opera —What is necessary for its enjoyment. In penning such a chapter as this, I have no desire to lay down the law to those older and wiser than myself, nor do I wish to be didactic, or to instruct where no instruction is needed. The musician and the opera-_habitué_ will not need telling how to listen to opera, nor how to enjoy it; nor should I be thanked for attempting the task. [Sidenote: =Feelings of Disappointment=] At the same time it must be borne in mind that to the very large majority of young persons their first introduction to opera raises a feeling of disappointment. People vary much, and there are those to whom the charm of music is so great that the most unfamiliar harmonies will convey delight to their ears and satisfaction to their mind. But this is exceptional rather than the rule, and it is to be feared that the neophyte, visiting the opera in a state of glorious ignorance, generally comes away with an inglorious feeling of unrealized ideals and unattained expectations. [Sidenote: =Expectations=] To the average school-girl, for example, opera suggests various fascinating details read about in books and papers; such as beautiful singing, the presence of fashionable and brilliant persons, possibly of royalty; tiaras of diamonds and gorgeous costumes, and a thousand and one other trifles which may or may not come up to expectation. Even if they do, the excitement of such extraneous attributes as these soon palls, and the girl is left to reflect on the opera itself, which is perhaps the most fruitful source of disappointment.