But the resources of the musician are in his own soul. From that alone can he forge the chain of melody, that shall bind the senses in a wordless ecstasy. Tangibilities to him are useless. Comparisons are of no avail. He individualises, but does not reflect. He feels but does not think. He deals with action and emotion, but form and substance are beyond his imitation. He is a metaphysician, but not a philosopher. But the depth of the music, will depend entirely upon the man. From a close study of the works of Mozart and Beethoven, a correct and metaphysical analysis of their characters can be obtained. In the early works of Mozart will be found a continuous chain of tender and impassioned sentiment; an overflowing of soul, an exuberance of love, and his early life will be found to be a counterpart of these emotions. In him the passions were developed at an age, when in ordinary children their germ would be scarcely observed. Loved almost to idolatry by his family, and loving them as fondly in return, his life was passed in one unceasing round of the tenderest endearments. All that was beautiful in his nature was brought into action, and gave that tone of exquisite tenderness, that pervades all his imperishable works. But as the passing years brought with them an increase of thought and reflection, a change is to be found equally in the character of the music and the man. This change can be traced in his later operas, Le Nozze de Figaro, Don Giovanni, Cosi Fan Tutti, La Clemenza di Tito, Die Zauberflöte, and Die Entführung aus dem Serail. In these works there is the evidence of deeper and more comprehensive thought; the metaphysical identity of character is as strictly maintained, and as closely developed, as it could be pourtrayed by words. His Il Don Giovanni, stands now, and will forever stand, an unapproachable model of musical perfection.