A closer examination of Mozart's opera will make it clear to us why it threw all others into the shade. The plot of Bretzner's[32] "Entführung aus dem Serail," written for André in 1781, is simple and in no way original:-- Constanze, the beloved of Belmont, is in the power of the Pasha Selim, who has confined her in his seraglio, and sues in vain for her love. Belmont has been made aware of her place of confinement by Pedrillo, his former servant, who has also fallen into the hands of the Pasha, and become the overseer of his gardens; Belmont hastens to liberate his beloved. In seeking Pedrillo he stumbles upon Osmin, overseer of the country-house in which the action takes place; and both he and Pedrillo (who is even more obnoxious to Osmin from his known love to Blondchen, Constanze's waiting-maid, whom Osmin seeks to win) are rudely repulsed by Osmin. In the meantime Pedrillo succeeds in recommending Belmont to his master as an accomplished architect; Selim takes him into his service, and Osmin is reluctantly obliged to admit him to the country-house. In the second act Blondchen makes short work of Osmin's arrogant jealousy in respect of her, and Constanze remains constant against the renewed attempts of the Pasha. Hereupon Pedrillo inveigles Osmin into drinking with him, and renders him harmless by means of a sleeping potion; the freedom thus obtained is employed by the lovers in an interview at which their flight the following night is determined on. In the third act this is put into effect. Pedrillo {ALTERATIONS IN THE LIBRETTO.} (223) gives the sign, Belmont escapes with Constanze; as Pedrillois carrying off Blondchen, Osmin enters still half asleep; they contrive to escape but he causes them to be pursued, and both couples are brought before the Pasha. They are condemned to death, but the Pasha, moved at last by their self-sacrificing love and fidelity, pardons and unites them.