he never fails to hit upon the right point, whence a whole may be organised. Thus, every separate passage in the finale heightens the contrast, and leads by a 'natural process of development to a conclusion for which '+ helps to prepare the way. What has been said in general terms may be applied to the treatment of details, and primarily of the voices. The dramatic characterisation necessitates perfect freedom in the employment of every source of effect; long-drawn cantilene shorter melodious phrase; well-marked motifs requiring elaborate working-out, declamatory delivery merging into an easy conversational tone--all are employed in their right place, often in rapid alternation and varied combination. It is not sufficient, however that each separate device should be employed effectively the essential point is that they should be placed in right relations with each other, and with the whole of which hand the musical edifice is put together so as to leave on the {LE NOZZE DI FIGARO.} (110) they form parts. The unhesitating use of the resources of the voice, and the harmony of the effect, are admirable alike in the great ensemble movements and in the smallest passage to be sung; the sestet and the second duet may be brought forward as essentially differing in style and subject, yet each in its place distinguished by delicacy of detail and striking effect. Great simplicity in the treatment of the voices is a noteworthy consequence of this tendency. Song is merely the means adopted for expressing emotion of different kinds. Homely simplicity not only corresponds to truth of expression--it is necessary for the combination of heterogeneous motives, which would otherwise be incomprehensible. This simplicity, however, is not of the kind that reduces all expression to the same level, and abjures ornament and grace; rather is it the simplicity of a nature which draws its inspiration from the depths of the heart, and excludes all merely virtuoso-like displays which would serve but to glorify the singer.[42]