{LABOUR AND POVERTY.} (292) Both the plot and the characters are absolutely devoid of dramatic interest. The abstract goodness of Titus, who is ready on every occasion to pardon and to yield, rouses no sympathy,[45] and is dramatically mischievous in its effects, since it destroys any sort of suspense. Publius, Annius and Servilia are mere props in the plot, characters without any individuality. Sextus is a purely passive instrument, wavering between love and remorse, without force or decision. We should sympathise with him if his love for Vitellia were returned, and if a healthy passion gave an impulse to his crime; but his weakness, which prevents his being aware that he is only the instrument of her selfish passion, deprives him of all sympathy, while Vitellia repels us by her barefaced ambition, to which she is ready to sacrifice every sentiment and every duty; her remorse comes too late to appear anything but a dissonance leading to the inevitable conclusion of the plot. This internal weakness in the characters is emphasised by Metastasio's poetical treatment of the plot. His dainty style was specially suited for court poetry and its corresponding musical expression, and his dexterity in the handling of the accepted forms of composition made his task a comparatively easy one. But even without taking into account the revolution which had taken place in the drama, we may judge from "Figaro" and "Don Giovanni" that what in Metastasio's time was of advantage to the composer had now become fetters binding him to forms and dogmas which were virtually obsolete. We find traces throughout of the opera seria, which Mozart had abandoned long ago, but which he was constrained here to resume. Metastasio's graceful daintiness of style, too, was even more injurious in the taste it encouraged for mere amusement of the trifling kind that was looked for at the opera at that time, giving an unseemly effeminacy of tone to the opera seria, and running an equal risk of degenerating into mere trifling or empty pomp and show. If, in addition to this, it be remembered that Mozart's express directions were to compose an occasional, a festival opera, for which two singers had {TITUS OVERTURE--ENSEMBLES.} (293)