have met with no unusual characters, no startling situations; the emotions represented have been true and simple, and have been the necessary consequences of the events composing the easily comprehended plot. The musical depicting of such emotions is a grateful task; if it is true in itself and a faithful rendering of the given situation it cannot fail of its effect. And Mozart has here combined truth of characterisation with a beauty of form and a charm of sweet sound which almost overpower the ear, and are scarcely to be found in such fulness in any other of his operas. The further development of the plot leads to a sharper characterisation of individuals. Dorabella first unfolds her grief in a grand air (n) introduced by an accompanied recitative. It consists of one movement (allegro agitato) which receives its distinctive character from the sextole passage for the violins--[See Page Image] which does not cease for one bar until just before the end; an unsteady trembling movement is imparted to it by varied harmonic transitions, and an occasional sharper accentuation by the full chords of the wind instruments. The simple sustained voice-part moves above this accompaniment in short expressive phrases, rising now and then to a tone of passionate appeal, and at the close to an unexpected pathos. Both in musical treatment and emotional expression the air takes a high rank; but none the less is it in striking contradiction to the character of Dorabella as it is afterwards developed. It is she who proposes to her sister to coquet with the new lovers, and in the duet (20) in which they agree to do so it is she who takes the initiative. In the duet with Guillelmo (23)[45] she shows herself so easily persuaded and so full of amorous passion that it appears the revelation of her true nature. It renders superfluous her subsequent expression of opinion in an air (28) that love rules over all hearts, and it is but folly to resist his sway. This air has a certain resemblance to the first in the simplicity of the {DORABELLA.} (253) voice-part and the moderation of the expression, although the feelings inspiring it are of such a different nature. The accompaniment again bestows upon the song its peculiar colouring; and the great prominence given to the wind instruments adds an insinuating and specious tone to the whole. But a closer examination reveals the evident contrast of the two songs. Dorabella is a woman of lively but not deep feeling; excitement is necessary to her, even though it may be of a painful nature--she cannot live without it. Her expressions of sorrow increase in intensity, and the orchestra is markedly toned down to allow her to display her true, somewhat shallow nature. Besides this, the exaggerated tone of her grief, displaying its want of perfect sincerity, is strongly marked by the words, e.g.-- Esempio misero d' amor funesto Darö all' Eumenidi, se viva resto, Col suono orribile de' miei sospir--