tunes of prose and the other in the tunes of
verse. The change in the instrument means
an alteration in the mental effect.

Now turn to Lessing's other exemplar of
the time-arts, the musician -- for musicians
as well as poets, painters and sculptors have
utilized the myth of Orpheus and Eurydice.
What can the musician do with the theme?
Gluck's opera may serve for answer. He can-
not, by the aid of music alone, call up very
definite ideas or images. He cannot tell the
Orpheus story clearly to one who has never
heard it. But to one who already knows the
tale, a composer's overture -- without stage
accessories or singing actors or any "oper-
atic" devices as such -- furnishes in its suc-
cessions and combinations of musical sound,
without the use of verbal symbols, a unique
pleasurable emotion which strongly and
powerfully reinforces the emotions suggested
by the Orpheus myth itself. Certain por-
tions of the story, such as those relating to
the wondrous harping, can obviously be in-
terpreted better through music than through
the medium of any other art.

What can Lessing's "space-arts," sculpture
and painting, do with the material furnished

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