The old myth is treated with considerable freedom, after the manner of an Italian opera; for the edification of pious youth Melia becomes the beloved of Apollo and Zephyrus, Hyacinthus a comparatively insignificant personage. The piece ends _en règle_ with a betrothal. A regular dramatic treatment is not even attempted, only long detached airs and duets, old-fashioned in style and form, and adapted of necessity to the Latin text. The dialogue is in Iambics, the choruses and songs are rhymed. The text is correct enough, but devoid of taste, and imitates in some particulars the {STUDY IN SALZBURG.} (60) libretti of the Italian opera. After a short overture in two parts, simple and well put together, the action begins with a recitative between Hyacinthus and Zephyrus, who betrays his love for Melia and jealousy of Apollo; Æbalus and Melia appear and sacrifice to Apollo, who is invoked by the chorus:-- Numen o Latonium Audi vota supplicum, Qui ter digno te honore Certant sancte colere. Nos benigno tu favore Subditos prosequere. The sacrifice is not accepted; a thunderbolt scatters them all, and Æbalus tries to reassure Hyacinthus in an air:-- Sæpe terrent numina, Surgunt et minantur, Fingunt bella Quae nos angunt Mittunt tela Quae non tangunt; At post ficta nubila Rident et iocantur. Then Apollo appears, and begs for the protection of Æbalus, Jupiter having banished him; after many civilities on either side, Apollo returns thanks in an air. Hereupon follow the two first acts of the tragedy. Then Æbalus informs his daughter that Apollo demands her in marriage; she willingly consents, and expresses her delight in an elaborate air. Lætari, iocari Fruique divinis honoribus stat, Dum hymen optimus Tædis et floribus Grata, beata Connubia iungit et gaudia dat? But now comes in Zephyrus with the tidings that Hyacinthus is slain by Apollo. Melia thereupon declares that she cannot accept him, OEbalus wishes to banish him, and Zephyrus expresses in an air the hopes to which these {APOLLO ET HYACINTH US.} (61) events give birth. Then enters Apollo, overwhelms Zephyrus with abuse, and causes him to be borne away by the winds; Melia, enraged by this fresh deed of violence, reproaches Apollo, and a duet follows, in which she rejects and dismisses him, while he bewails his love and her cruelty. Hereupon follow the third and fourth acts of the tragedy. Then Hyacinthus is borne in dying, and declares in an accompanied recitative that Zephyrus is his murderer, which gives occasion to Æbalus to rage duly in an air, followed by a duet between him and Melia, dreading the anger of the offended god. But Apollo appearing, changes Hyacinthus into a flower, extends his forgiveness to Æbalus and Melia, and betrothes himself to the latter. A concluding terzet expresses the general satisfaction.