In his book "The Classical Style", author and pianist Charles Rosen claims that from 1755 to 1775, composers groped for a new style that was more effectively dramatic. In the High Baroque period, dramatic expression was limited to the representation of individual "affects" (the "doctrine of affections", or what Rosen terms "dramatic sentiment"). For example, in Handel's oratorio "Jephtha", the composer renders four emotions separately, one for each character, in the quartet "O, spare your daughter". Eventually this depiction of individual emotions came to be seen as simplistic and unrealistic; composers sought to portray multiple emotions, simultaneously or progressively, within a single character or movement ("dramatic action"). Thus in the finale of act 2 of Mozart's "Die Entführung aus dem Serail", the lovers move "from joy through suspicion and outrage to final reconciliation."