It was otherwise with the original work, the _Le Mariage de Figaro ou la folle Journée_, of the same Beaumarchais from whom Goethe borrowed his Clavigo. In it we find the vices and above all the high-handed violence of the nobility scourged with such a regardlessness of consequences, that the piece must be looked upon as a species of prelude to that historic night in August, 1789, on which every privilege of the nobility was wiped out with a stroke of the pen. It shows us at the same time the cordial gentleness and dignity of the man, Mozart, who had himself personally experienced the brutal pride of the privileged classes, and this in the most revolting manner. He, however, solved the whole problem in the kindest of humor, with a sympathy which may be seen shining through tears; explaining it by the limitations and weaknesses of human nature. This work was Mozart’s own even from the ordering of the libretto; and he it was that made choice of it. The following are the particulars relating to its composition. Lorenzo da Ponte, of whom we made mention above, and who was at first so completely on the side of Salieri and the Italians, now turned to Mozart, in order to save his place, as libretto-poet, which he was in danger of losing. Paisiello, at this time a man of world-wide reputation, had come to Vienna, and achieved the greatest success with an opera--“King Theodore.” In order to supplant the poet of the opera, Casti, Da Ponte composed a libretto for Salieri, with which, however, Salieri made so complete a failure, that he swore he would rather have his fingers cut off, than set another verse written by Da Ponte to music. Salieri now turned to Casti and met with great success in his “Grotto of Trophonius.” Da Ponte who saw his position as poet for the theater in peril, in consequence of this, had recourse to Mozart. Thus it was the intrigue and jealousy of the Italians which eventually helped Mozart to the place which he was born to fill; and thus Salieri’s blow recoiled upon himself, for Mozart proposed Beaumarchais’ piece which had been given in Paris, in the spring of 1784, and had produced an immense sensation there. But the king had forbidden the piece in Vienna because of its “immoral style.” Besides, he had some doubts as to Mozart’s capacity. Mozart, he said, was a good composer of instrumental music, but had written an opera which did not amount to much. On this account, Mozart went quietly to work. He first composed a part of his opera, and Da Ponte then took occasion to have the emperor hear the part thus composed. His imperial majesty immediately ordered the completion of the work, and subsequently its performance.