that the music carries into the innermost recesses of the mind and heart what the words have merely hinted at. Even the actual musical formulas, such as the entry of the voices in imitation, produce, in the right place, such a direct and vivid effect that they appear to have been invented for the special case. As to the main conception on which the construction of the quartet rests, it might, if the violent rage of the Sultan were considered as the chief point, have been made more passionate and agitated without overstepping truth of expression; but Mozart has in preference emphasised the more fervid and reserved {COURT SERVICE IN SALZBURG.} (120) emotions of the other characters, to which the expression of anger must be subordinated. This conception has perhaps been suggested by the greater ease which it afforded for the introduction of the necessary reconciliation of the characters; partly, also, a more quiet and contained piece might appear to be of better effect after so many lively and agitated songs; it is certain, however, that it was the conception most in accordance with Mozart's nature as an artist. Equally in accord with the situation, but not by any means so deep and expressive, is the terzet (8) which brings the first act to a conclusion. In this there is no conflict of sentiment; Zaide, Gomaz and Alazim are happy in the feeling of mutual love and friendship, and in the hope of a speedy deliverance; the fear lest their plan of escape should fail casts only a passing shadow on their cheerful frame of mind.[31] The music therefore expresses content and happiness with great tenderness and the purest melody, especially in the first movement. The duet between Zaide and Gomaz (5), whose love is not a stormy passion, but the devotion of two noble beings, expresses in the most delightful manner the purity and openness of a happy affection. There are not wanting, either such delicate features of detail as characterise the genuine musical dramatist. For instance, in Gomaz' song (6), when he is divided between gratitude to Alazim and impatience to hasten to Zaide, there is charming humour in his confusion, particularly at the words "doch ich muss dich schnell verlassen," and "lass dich küssen, lass dich drücken," which in no way interferes with the more serious sentiment of the song as a whole. The union of humour and sentiment at the close is excellent. While the accompaniment continues the last subject, Gomaz, who had rushed off in hot haste, turns back, and sings once more with heartfelt emotion: "Herr und Freund, wie dank' ich dir!" There is a pretty touch in Osmin's air (11) where the purely musical return to the theme is used to express recurring bursts of hearty laughter. The workmanship of the opera, both as regards the {ZAIDE--ORCHESTRA.} (121)