[Footnote 39: Metastasio, Opp. post., II., p. 329. Cf. Mancini, Rifl. prat, sul canto fig., p. 234. Goldoni, Mém., I., 20, p. 110. Hagedom was of opinion that some of Metastasio's operas were perfect tragedies (Werke, V., p. 113), and Bodmer agreed with him (Ibid., p. 184).] [Footnote 40: Metastasio, Opp. post., II., p. 355. In an interesting letter to Hasse (Opp. post., I., p. 344), he dissects his Attilio Regolo, which Hasse was about to compose, so that he may grasp the musical characteristics; he enters into detail so minutely as to leave no doubt of his familiarity with musical technicalities.] [Footnote 41: Metastasio, Opp. post., II., pp. 38, 355.] [Footnote 42: Ap. Zeno writes in his own justification (Lett., III., p. 91): "Ho caricata poi l' opera di sentiment!, poichè questi sono ciö che più piace alla Corte e mas-simamente al Padrone." Metastasio complains of Farinelli's writing an opera for the court ladies, who would only play virtuous parts (Opp. post., II., p. 39).] [Footnote 43: Zeno (Lett., II., p. 413; VI., pp. 100, 194, 287) and Metastasio (Opp. post., II., III., p. 164) complain bitterly of this. As an instance: to a finished opera for five characters a sixth was required to be added (Opp. post., II., p. 37).] ==== MOZART BY DAVID WIDGER CHAPTER VIII. MOZART'S EARLY OPERAS. MOZART found rules as to the form and technicalities of the opera[1] seria rigidly laid down even to the minutest details, and he was the less tempted to disregard these, since the extraordinary ease of his invention prevented his ever finding a prescribed form to be a burdensome restriction. Mozart's mission was not to overstep the bounds of custom, but quietly and gradually to bring to perfection all that was genuine and true in the diverse elements of his time. He found the opera already in the hands of the vocalists, and execution had by this time asserted its victory over characterisation. He did not attempt to enter the lists against singers and public, but contented himself with striving for fair conditions. He was willing to write to the satisfaction of the singers, and for the display of their powers, but he saw no necessity for {"MITRIDATE."} (173)