Mozart began the composition of the ensemble movement at the commencement of the third act. The greater part of the duet between Belmont and Pedrillo before the romanze was sketched out by him in his usual way, the voices and bass written in full, the accompaniment indicated here and there. It breaks off, however, in the middle; and Mozart appears to have purposely laid it aside, convinced that the scene must be differently treated.[33] The ensemble was given up; Mozart saw that it would throw the whole opera out of gear, and would concentrate the interest and the action at the wrong place. The abduction scene was confined to dialogue, only Pedrillo's romanze being left; in addition, songs for Belmont and Osmin were inserted, both highly characteristic. The duet for Belmont and Constanze, which follows, is altered only in the words, not in the situation; the closing catastrophe it was thought well to modify. In Bretzner's version the Pasha Selim, who is a renegade, recognises in Belmont his son, which leads to the _dénouement_; but Stephanie makes him pardon the lovers from generosity and magnanimity, which, as a critic remarked, were the fashion of the day in Vienna.[34] Constanze's song of gratitude at the close is very rightly omitted, and replaced by the then customary vaudeville, in which all the characters declare in turn: "Wer solche Huld vergessen kann, den seh man mit Verachtung an! {DIE ENTFÜHRUNG AUS DEM SERAIL.} (226) Mozart's father had raised objections to the libretto, and the alterations in it; he was particularly concerned that the verses were not in regular rhyme throughout. Thereupon his son made him the following remarkable answer (October):--