These shortcomings are not to be ascribed in Mozart's case to youthful immaturity, but to the musical conditions of the time at which he wrote; they are equally observable in the works of the most experienced contemporary musicians, and were indeed hardly regarded as blemishes. The question involuntarily arises what there was in these early operas which could so enchant the public and draw from a master like Hasse the prediction that this youth would eclipse them all. A witty artist once declared that the public always requires novelty, but it must be novelty that they are acquainted with; anything really new demands too great an effort of comprehension from them. In this case, no doubt, the public, agreeably prepossessed by the readiness with which the work complied with all existing conditions, were quick to appreciate the skill and taste which were manifest, as well as a certain youthful freshness, and here and there traits more significant still of genius; traits in which Hasse recognised the germ of future development. We, who know Mozart in the full perfection of his powers, seek eagerly in {ANALYSIS OF "MITRIDATE."} (177) these earlier works for such indications as there are of his future greatness. Sometimes, even in the bravura songs, pure, grand touches of melody light up their conventional surroundings; these are usually in the second part, and in the minor key. The more dramatic "situation-songs" in which the composer made fewer concessions to the singers, are not only conciser in form, but more pregnant and original in expression. The most striking among them is the song of Aspasia (4). Upon the news of the arrival of Mithridates, whereby she knows Sifares to be in danger, and her love for him rendered hopeless, she utters these words:-- Nel sen mi palpita dolente il core Mi chiama a piangere il mio dolore, Non resistere, non so restar. Ma se di lagrime umido è il ciglio È solo, credimi, il tuo periglio La cagion barbara del mio penar. Grief, which seems too deep for words, here breaks forth in such an uncontrollable flood of song, expressed with so much truth and nature, that a dramatic artist like Bernasconi would be sure to make an extraordinary effect by it. The simple, purely musical means employed, the expressive flowing melodies, rich harmonies, suitable accompaniments, and charming moderation of expression--all these show us the genuine Mozart.