[Footnote 30: The resemblance of some situations to the "Entfuhrung" is as striking as the difference of the two works on the whole. An Osmin appears as a secondary character, and sings a comic aria in the second act, which seems to have no immediate connection with the action. The disclosure of the flight was made in the original by Zaram, not by Osmin.] [Footnote 31: This part did not satisfy Mozart, and he composed it again.] [Footnote 32: Castil-Blaze, Molière Musicien, II., p. 423.] [Footnote 33: La Harpe, Corr. Litt., I., p. 280.] [Footnote 34: Brandes Lebensgesch., II., pp. 140, 157.] [Footnote 35: Brande's Lebensgesch;, II., pp. 173, 184. Reichardt says (Kunstmag., I., p. 86; Mus. Alman., 1796, G. Benda) that Benda was the first to propose it; but this seems incorrect.] [Footnote 36: Brande's Lebensgesch., II., p. 193. Teutsch. Mercur, 1775, III., p. 276.] [Footnote 37: Brande's "Ariadne" was successfully performed in Paris in 1781 (Grimm, Corr. Litt., X., p. 450).] [Footnote 38: Eberhard, Neue Verm. Schr. (Halle, 1788), p. 1. N. Bibl. d. Schön Wiss., XXXVII., p. 177. Forkel, Krit. Bibl., III., p. 250. Tagebuch d. Mannheim, Schaub., I., p. 327. Nachtr. zu Sulzer's Theorie., Ill, p. 318. Herder was of opinion that music and declamation met at evety point; they could not unite (Böttiger, Litt. Zust., I., p. 126).] [Footnote 39: Reichardt, Kunstmag., I., p. 86. Rintel, Zelter, p. 100. Cf. Huber, Tamira, p. 79.] [Footnote 40: A list of melodramas is given by Schletterer, Das Deutsche Singspiel, p.225.] [Footnote 41: Reichardt, Geist des Musik. Kunstmag., p. 102. Knigge, Ephemer. f. Theat. u. Litt. (1785, II., p. 100).] [Footnote 42: It is particularly to be regretted that the original words for these melodramatic scenes have not been printed. The alterations in Soliman's monologue are not so essential, but Gomaz's monologue is entirely transformed. In the original text he was absorbed by his unpleasant position; when he prays for refreshing slumber, and the music represents his repeated starting up from rest, the altered version puts love-ravings for Zaide into his mouth.] [Footnote 43: It will suffice to remind the reader of the fine melodrama in "Fidelio."] [Footnote 44: "Zaide" was performed in Frankfort on January 27, 1866, and though naturally not a stage success, it was a most welcome instruction to those who brought historical interest to bear upon it.] CHAPTER XXII. "IDOMENEO." ALTHOUGH in his earlier years Mozart's career had, as we have seen, been hindered by the circumstances {IDOMENEO.} (126)