in this first fire of the fullest and most human of feelings, the elemental substances of all music, and gave it what it hitherto had possessed only in isolated cases and accidentally, an impression full of soul, a meaning to its every tone. It is hard to find before Mozart, except it be in national melodies, anything of this living, animated, thoroughly personal expression of feeling, such as we possess in this _Non so d’onde viene_. It is like Aloysia’s picture itself. Here we find a language plainer and more universally intelligible than words. It charms and enchants us; looks us in the face; speaks to us with an expression as if we alone were addressed. This is the highest, the very highest effect of art, and this the time when it becomes a second, an ideal, a transfigured life. The language which Mozart thus acquired for his art, he never forgot or dropped. He embellished it, amplified it, deepened it, until he reached that expression of the soul in which, like the melody in the _Magic Flute_, the soul itself stands face to face with its Creator, and in the calmness of its bliss, feels that it is “the image of God,” and His portion forever. We here close the account of Mozart’s inner awakening. We may now compare with his first heart-trials his first intellectual exploits, the very beginning of which was this aria, _Non so d’onde viene_, to write which he was inspired by his love for Aloysia Weber. CHAPTER III. 1779-1781. IDOMENEO. New Disappointments--Opposition of the Abbe Vogler--Mozart and the Poet Wieland--Wieland’s Impressions of Mozart--German Opera and Joseph II.--The Weber Family--Aloysia Weber--Mozart’s Plans--His Father Opposes them and his Attachment for Aloysia--Mozart’s Music and Heart-trials--In Paris--Disappointments there--Contrast Between Parisian and German Life at this Time--New Intrigues Against Him--Invited Back to Salzburg--“Faithless” Aloysia--Meeting of Father and Son--Reception in Salzburg--“King Thamos”--Character of Mozart’s Music Composed at this Time--Invitation to Compose the Idomeneo--Success of that Opera--Effect of the Idomeneo on the Italian Opera. Mozart’s way is henceforth through the tortuous paths of life. Disappointment after disappointment meets him. He becomes familiar with suffering and sorrow, but they point him to a higher goal than that of mere immediate success. The severest trials of his affections broaden his heart and make room in it for interests other than his own--an effect which unveils the real worth of the artist.