sense can only exist in those few places where the music is independent of the melodrama. The main point, however, cannot be denied, which is that the words and the music are not here so blended that each part is richly repaid for what it sacrifices by its union with the other, but that each is continually asserting itself in opposition to the other, so that both are in fact the losers. To [42] It is particularly to be regretted that the original words for these melodramatic scenes have not been printed. The alterations in Soliman's monologue are not so essential, but Gomaz's monologue is entirely transformed. In the original text he was absorbed by his unpleasant position; when he prays for refreshing slumber, and the music represents his repeated starting up from rest, the altered version puts love-ravings for Zaide into his mouth. {ZAIDE--MELODRAMA.} (125) this may be added the great difficulty of satisfying the requirements of music, together with those of declamatory speech, and of filling the pauses with suitable gestures and movements, the amount of histrionic art necessary being rarely possessed by singers. Benda's melodramas were written for distinguished actresses, whose forte lay in their declamation and action; the situations were selected with this view, the dialogue was constructed in accordance with it; in fact, each scene was self-contained, not incorporated as a component part of a greater whole. Objections of this kind must have acted upon Mozart at a later time; at all events, he never again employed melodrama, not even in the "Zauberflote," when the occasion seemed ready to hand. It was nevertheless often introduced into operas--and partially also into plays--with very good effect. But the effect relies chiefly either on the material impressions of sound or upon the delicate and intellectual treatment of the musical interludes, suggesting familiar ideas, sentiments, or fancies, which exist in the minds of the speakers, though they are incapable of expression in speech.[43] These are certainly admirable points in their place, but they can scarcely serve as organising principles in a work of art; the melodrama must be content to take its place as a subordinate and connecting member if it is to have its true effect. Mozart never took up this opera again, and he was right. It could only have been rendered fit for the stage by complete reconstruction. The first act, however graceful the music may be, has too little variety in its treatment and tone to gain favour on the stage; the second is, as we have seen, barely tolerable. After the composition of the "Entführung," "Zaide" was heard of no more, partly on account of the similarity of subject and accessories, partly because it was so far surpassed in every respect that it could not fail to fall henceforth into oblivion.[44] FOOTNOTES OF CHAPTER XXI.