makes use of the basset-horn instead of the clarinet in this song. In the part of Belmont, too, the instrumentation is modified to some extent. The second song (4) is very delicate and tender in its instrumentation, the wind instruments being treated as solos, although not concertante; in the others there is a very pithy forcible tone, which in the last (16) becomes almost brilliant. The duet (20), owing to the singularity of the situation, differs materially in character from an ordinary love duet. Within sight of death each of the lovers has the painful consciousness of having led the other to destruction; and their mutual endeavour to console one another with the certainty of their love, which death may consummate but cannot destroy, raises them to the height of enthusiastic inspiration. This sentiment is excellently well expressed in the first calm movement with fervour and clearness, and a perceptible blending of painful emotion and loving consolation; the second movement does not quite reach the same high level. Not only do some of the passages, and the very tedious conclusion, make concessions to passing effect, but the expression does not rise to the ecstatic strain which is implied in the situation.[55] The noble forms of the two lovers stand in the sharpest contrast to that of Osmin, which is altogether Mozart's creation, and certainly one of the most original characters of dramatic music. The very way in which he is introduced is masterly. After Belmont has sung his cavatina, which breathes the noblest love and constancy, Osmin comes out of the house to gather figs; he sings a song for his pastime; it is a love song, but one suggested by painful jealousy. The minor key of Osmin's song gives it a wild, desolate expression, in strong contrast to the cheerful candour of the cavatina; many popular songs have this expression, and Osmin's song is successfully imitated from the popular style. The phrasing is clumsy in spite of the marked rhythm, but the effect is quite startling when Osmin in a complacent hum {DIE ENTFÜHRUNG AUS DEM SERAIL.} (238)