the Operas of Mozart were called into service, that we might choose the most exhilarating of his airs. Among the other transcendant attributes of Mozart's music, it possesses more than any other that of appearing to come from the heart; you enter into the passions expressed by him, and are transported with grief, joy, anger, or confusion, as he, our soul's master, chooses to inspire. For some time, the spirit of hilarity was kept up; but, at length, Perdita receded from the piano, for Raymond had joined in the trio of "Taci ingiusto core," in Don Giovanni, whose arch entreaty was softened by him into tenderness, and thrilled her heart with memories of the changed past; it was the same voice, the same tone, the self-same sounds and words, which often before she had received, as the homage of love to her—no longer was it that; and this concord of sound with its dissonance of expression penetrated her with regret and despair. Soon after Idris, who was at the harp, turned to that passionate and sorrowful air in
