repeats the last words an octave lower, and then at once breaks out into a wild "Trallalera!" The uncouth fellow lolls and stretches so completely at his ease that there cannot be a moment's doubt of how unamiable he will prove to be if any one should venture to cross his path.[56] This is soon put to the proof. He refuses with assumed indifference to answer Belmont's repeated inquiries, and on the latter interrupting him (involuntarily, as it were, with the melody of his own song, which has so irritated Belmont), the unabashed rudeness of Osmin breaks out in speech. It is as interesting as instructive to note how in this duet the simplest and easiest means of musical representation are used to produce a continuous climax and the most lively characterisation. While it is still in full train Pedrillo enters, and Osmin turns upon him with a fresh outbreak of rage in the song which Mozart had spoken of to his father (3). Again changing his tactics, he endeavours to repress his opponent with all the weight of his dignity and cleverness. Gravity and importance, expressed by the rhythm, the pompous intervals, the syncopated accompaniment, alternate with impatience and haste, when the singer becomes irritated. Very characteristic is the demeanour of Osmin as he complacently nurses the thought: "I have my wits about me!" ("Ich hab' auch Ver-stand!"). He works himself gradually up into a rage, and the threats which he pours forth in a breath fall like blows on the head of the hapless Pedrillo. The effect is produced by the accentuation given to the rapid flow of words; the first fourth of every bar is forcibly given by the orchestra, and the second is taken up by the voice in fifths, and then in octaves. At last he comes to a triumphant close, and one thinks it is all over. But he has only stopped to take breath, and at once resuming his furious course, he ends by completely overpowering his opponent. Mozart writes to his father on the conclusion of this song (September 26, 1781): "The 'Drum beim Barte des Propheten' is in the same time, but the notes are more rapid, and as his anger grows one imagines the climax must be close at hand; the allegro assai {OSMIN--TURKISH MUSIC.} (239)