Act ii. opens with a short prelude on one of Ophelia's themes, and then there is a long recitative and aria for her (Ophelia). I do not think it would be wise or expedient {30} to give an exact analysis of this work, so I will pass over with but few references.
Act iv. begins with a long and complicated ballet, which is about the changes of weather from which we suffer, and Ophelia's "mad scene" comes in the midst of it. The tyranny of the grand-opera ballet is one of the most cramping things that have ever helped to ruin the fine spontaneity of dramatic art. Everyone knows how Wagner fought against it, and of the final d
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