Mithridates, in order to test the fidelity of his sons, consults with them on the prosecution of the war; he discovers the complicity of Pharnaces with the Romans, and orders his imprisonment; Pharnaces acknowledges his çuilt, but accuses Sifares of the greater guilt of complicity with Aspasia. In order to try her, Mithridates offers generously to resign her hand to Pharnaces, which draws from her the confession of her love for Sifares; this so infuriates Mithridates that he resolves to slay his two sons and Aspasia. This is the crisis at which the second act is brought to a conclusion by a duet, in which the lovers declare death preferable to separation. In the third act, Ismene, repenting her resentment, strives to soften Mithridates, and Aspasia solicits Sifares' life with an assurance of his innocence; but, as she refuses to give her hand to Mithridates, he maintains his resolve, and the triple execution is to take place during a sally which he makes on the Roman host besieging the city. Aspasia is on the point of emptying the fatal bowl, when Sifares, who has been set free by Ismene, snatches it from her, and rushes against the enemy. Pharnaces, who has been released from his dungeon by the besieging Romans, is seized with compunction and returns to his obedience, setting fire to the Roman fleet. The Romans are defeated, but Mithridates is mortally wounded; before he dies he unites Aspasia and Sifares, and pardons Pharnaces, who has made his peace with Ismene. The opera consists of twenty-four numbers without counting the overture; they are all solo songs, except one duet and the concluding quintet.[2] The original score appears to be lost; but several detached numbers of this opera are {ANALYSIS OP "MITRIDATE."} (175) preserved in different forms of composition, showing that Mozart had made various experiments, more, doubtless, to please the singers than himself. Of the first air of Mithridates (7), "Se di lauri il crino adomo," there are four different sketched studies; Aspasia's song (13), "Nel grave tormento," is begun in a different form, but breaks off at once; five other numbers are completely worked out, but have given place to later arrangements.[3]