SOPRA l’Opera in Musica . 333

tro air Opera in musica, che le persone se
ne vanno alla morte e cantano, non ha
origine da altro , se non se dal non ci es-
sere tra le parole ed il canto quell’ aimo-
nia, che si richiede . Imperciocchè se ta-
cessero i trilli, dove parlano le passioni,

e la

has no means of explaining tlle motives of
its various impressions, its imitations of the
Mminers and Passions must he extremely
vague atid Jindecisive : for instance , t!:,e ten-
der and melting tones which jnay he expres-
sive of the Passion of Love , will he ecjual-
ly Ì7i U71ÎS07Z with the collateral feeli/igs os
Petzevole/ice, Frie/idship, Pity and the like.
udgain, how are we to distinguish the rapid
moveniesztes of A/iger, fro/n, tJzose of Terror,
JDistractio/i, and all the violent agitations of
the Soul? But, let Poetry cooperate with Mu-
sic , and, specify tlze motive of each particu-
lar impression we are no lo/iger at a I'oss ;
we ack/iowledge the agreeme/it of tho sound
with the idea, and general impresszons he-
eom.e specific i/zdicatio/zs of the Ma/iners. and
the Passions .

Remarks on the beauties of Poetry By Daniel
Webb Esq. p. 102. in the note .