o such melody as shall interpret character, and the power to do
this with effect.

That the Cherubino of Mozart's _Nozze_ is quite different from
Beaumarchais' Cherubin does not affect this question. He is a new
creation, just because Mozart could not, or would not, conceive the
character of the page in Beaumarchais' sprightly superficial spirit.
He used the part to utter something unutterable except by music about
the soul of the still adolescent lover. The libretto-part and the
melodies, taken together, constitute a new romantic ideal, consistent
with experience, but realised with the intensity and universality
whereby art is distinguished from life. Don Juan was a myth before
Mozart touched him with the magic wand of music. Cherubino became
a myth by the same Prospero's spell. Both characters have the
universality, the symbolic potency, which belongs to legendary beings.
That there remains a discrepancy between the boy-page and the music
made for him, can be conceded without danger to my theory; for
the music made for Cherubino is meant to interpret his psychical
condition, and is independent of his boyishness of conduct.

This further explains why there may be so many renderings of
Cherubino's melodies. Mozart idealised an infinite emotion. The
singer is forced to define; the actor also is forced to define. Each
introduces his own limit on the feeling. When the actor and the singer
meet together in one personality, this definition of emotion becomes
of necessity doubly specific. The condition of all music is that it
depends in a great measure on the temperament of the interpreter for
its momentary shade of expression, and this dependence is of course
exaggerated when the music is dramatic. Furthermore, the subjectivity
of the audience enters into the problem as still another element of
definition. It may therefore be fairly said that, in estimating any
impression produced by Cherubino's music, the original character of
the page, transplanted from French comedy to Italian opera, Mozart's
conception of that character, Mozart's specific quality of emotion
and specific style of musical utterance, together with the contralto's
interpretation of the character and rendering of the music, according
to her intellectual capacity, artistic skill, and timbre of voice,
have collaborated with the individuality of the hearer. Some of the
constituents of the ever-varying product--a product which is new each
time the part is playe