Life of Mozart

344 DIE ZAUBERFLOTE.the art, so praised by Goethe, of producing effect by meansof contrast. In dramatic design they are inferior to thefinales of " Figaro," " Don Giovanni," or " Cosi fan Tutte."Instead of a plot proceeding from one point, and developingas it proceeds, we have a succession of varied scenes,lightly held together by the thread of events, and interestingus more from their variety than their consistent development.In order to follow this rapid movement great freedomof musical construction was necessary ; opportunitiesof carrying out a definite motif till it forms a self-containedmovement, which are so frequent in Italian finales, occurhere but seldom, one instance being theallegro of the firstfinale, when Monostatos brings in Tamino, and the movementof the second finale to which the Queen of Nightenters. This essential difference of treatment fills us withrenewed admiration of Mozart's fertility in the production ofnew suggestive and characteristic melodies, which seemready at command for every possible situation. Those whodescend to details will be amazed to find how seldomMozart is satisfied with a mere turn of expression, howlavish he is of original fully formed musical subjects, andhow all the details of his work are cemented into a wholeby his marvellous union of artistic qualities.This leads us to the consideration of a second point inwhich the "Zauberflöte" surpasses the "Entführung." Thelatter is confined to a narrow circle of characters, situations,and moods, while the former has a large and varied series ofphenomena. The story from which the plot is derivedopens the realm of fairies and genii, personified in the Queenof the Night and her ladies, and, as regards his outwardappearance, in Papageno. In addition to this there is themystical element which takes the first place both in thedramatic conception and the musical characterisation of theopera. Mozart had no intention of representing a fantasticfairy land, such as was called into existence by Weber andMendelssohn. The fabulous was not then identified withthe fantastic, but was often consciously made a mirror forthe reflection of real life, with its actual sentiments andviews.Therefore the Queen of Night is depicted as a queen,