We have seen that the libretto unites the characteristics of Italian and French opera as far as style is concerned, but that the determining element is the Italian style. We have seen further that the singers, with the exception of the two female characters, belonged to the Italian school, which fact tended to the maintenance of Italian form. It might therefore be expected that Mozart, especially in the songs, should set out from the traditional forms, and only {ITALIAN CHARACTER OF THE MUSIC.} (143) attempt to modify them as far as was possible. But the influence of the French original on the opera lay deeper than this, and was impressed on its poetry, language, and nationality, Italian as these all were in external form. Let us consider the songs. The effort is evident to give a more individual expression to the sentiment arising from the dramatic situation than was usual even with Metastasio; but the form and construction are only modified, and have retained the specific character of Italian poetry. The rhetoric differs altogether from the rhetoric of French poetry. Indirectly, too, language by its rhythm and accent affects musical construction, and the distinctions between the Italian and French language are strikingly apparent, not only in the recitatives, which are governed by the musical character of the language, but in the formation of the melodies, where language must be taken into account as an essential element. But deepest of all lies the difference in the conceptions and ideas of the two nations. The emotions and passions of different nations vary not only in intensity but in mode of expression, and where a truly national art has developed itself this special character is stamped on all its productions. The Italians express their feelings vividly and accent them strongly, and not only so, but their instinctive love of formula calls forth sharply defined characterisation and favours typical developments, as is shown, for instance, in their singularly perfect talent for pantomimic representations. This tendency has had a marked influence on the development of music, particularly of dramatic music, in Italy. It still bears a national character, which is not only stamped on it in certain forms and turns of expression, but which is the artistic expression of emotions springing from the very nature of the people. Whoever has heard Italian music performed both by Italian and German singers will readily be convinced that the difference rests not only on style and method, but still more essentially on the peculiarities of the Italian national character. It should not therefore be matter for surprise that music which to Germans appears false or unnatural should make a much deeper impression on Italians than the merely sensual one which strikes the ear. {IDOMENEO.} (144)