e attempts to
throw herself into a lake near by, but is restrained by the notes of
Lotario's harp. She rushes to him for counsel and protection, and in
her despair invokes vengeance upon all in the castle. As the
entertainment closes, Filina and her troupe emerge, joyful over their
great success. She sends Mignon back for some flowers she has left,
when suddenly flames appear in the windows. Maddened by his own grief
and Mignon's troubles Lotario has fired the castle. Wilhelm rushes
into the burning building and brings out the unconscious Mignon in his
arms.

The last act opens in Lotario's home in Italy, whither Mignon has been
taken, followed by Wilhelm, who has discovered her devoted attachment
to him, and has freed himself from the fascinations of Filina. Through
the medium of a long-concealed casket containing a girdle which Mignon
had worn in her childhood, also by a prayer which she repeats, and the
picture of her mother, Lotario is at last convinced that she is his
daughter, and gives his blessing to her union with Wilhelm.

The overture recites the leading motives of the work. The first act
opens with a fresh and melodious chorus of the townspeople over their
beer in the inn yard ("Su borghesi e magnati"). During their singing a
characteristic march is heard, and the gypsy band enters. The scene is
a charming one, the little ballet being made still more picturesque by
the fresh chorus and a song of Filina's in waltz time. The scene of
the encounter with Giarno and Mignon's rescue follows, and leads up to
a very spirited quintet, which is followed by a graceful trio between
Wilhelm, Filina, and Laertes, the actor. In the next scene Wilhelm
questions Mignon as to her history, and at the end of their pathetic
duet, when he says, "Were I to break thy chains and set thee free, to
what beloved spot wouldst thou take thy way?" she replies in the
beautiful romanza, "Non conosci il bel suol," more familiarly known in
Goethe's own words, "Kennst du das Land,"--a song full of tender
beauty and rare expression, and one of the most delightful
inspirations of any composer. It is said that much of its charm comes
from the composer's study of Ary Scheffer's picture of Mignon. Be this
as it may, he has caught the inner sense of the poem, and expressed it
in exquisite tones. It is followed almost immediately by a duet
between Mignon and Lotario ("Leggiadre rondinelle") of almost equal
beauty, known as the Swallow duet. After a