poetical intuition of this musician that the poetical material helps him always to some new invention in his own art. And while this art seems to demand that it should be necessarily confined to its own sphere and possess definite forms, genius is able to so arrange it that the dramatic action may lose nothing that properly belongs to it, and yet that the music may not become simply “the obedient daughter of poetry.” Richard Wagner, the great master, who, in this sphere, is Mozart’s only real successor, says: “Mozart in his operas demonstrated the inexhaustible resources of music most fully to meet every demand of the poet on its power of expression; and considering his completely original course, this glorious musician did a great deal more to discover this power of music, both in respect to truth of expression, and in the endless varieties of its causes, than Gluck and all his successors.” And in this dramatic respect, the _Figaro_, and _Don Giovanni_, unquestionably occupy the first place. Who is there that does not recognize in _Keine Ruh’ bei Tag und Nacht_, _Wenn du fein artig bist_, _Treibt der Champagner_, a new language in tones? We here again witness the noblest acquisitions of the _Idomeneo_ and the _Elopement from the Seraglio_, in the highest possible perfection concentrated in all their energy. It is a miracle of strength and grace, of spirit and euphony, of buoyant force, of nobleness, and at the same time, of truest, deepest feeling. Thus the _Figaro_ and _Don Giovanni_, together with Germany’s classic poetry, occupy a place at the beginning of a great dramatic epoch which commenced one hundred years ago. They are a part of the life of modern humanity in general. In them Mozart first fully developed his inexhaustible genius. And thus it is that these works, like the antique and the art of the Renaissance, belong to the whole cultured world. Mozart’s concluding labors are a condensation of all the impressions of his life, and of all the perceptions of his mind, in their very depths. The _Magic Flute_, especially by its purely human and ethico-religious tendency, became the starting point of the efforts of an art which was peculiarly German, but of which the universal art-creations of the present day were born. This leads us to the fifth and last chapter of our biography. CHAPTER V. 1787-1791. THE MAGIC FLUTE--TITUS--THE REQUIEM.