We make acquaintance with Osmin's boorish character in many different situations; he is true to himself in them all. The second great song (19) contrasts in some measure with the first. He is triumphant, he has his enemies in his power, and he is beside himself with joy; but he retains the same savage nature, and in the midst of all his rejoicing the main point for him is that he can now loll and stretch himself comfortably, which he proceeds to do to his heart's content on the long-sustained A and D, to which he easily carries his scale. Especially characteristic is the middle movement of this song. One seems to see a wild beast, now yawning and stretching, now crouching for a spring; grim cruelty and lustful indolence are wonderfully characterised by the alternation of octaves and dissonant suspensions in the accompaniment, as well as by the triplet passages which are given by the orchestra in unison, as if there could be no harmony here; the expression of joy is mingled with unspeakable brutality, and comes to a climax in the shrill note of exultation at the close.[58] But Osmin shows himself a true poltroon in the duet with Blondchen (9)--her snappish impudence completely gets the better of him, and although he endeavours to overawe her with the deepest notes of his deep bass voice, her persiflage drives her unwieldy antagonist quite out of the field. The lament which he thereupon sings: "Ihr Englander, seid ihrnicht Thoren, ihr lasst euren Weibem den Willen!" ("You Englishmen, what fools you are, to leave your wives their freedom!") is in contrast to his love song, and completes the conception of it. Here there is nothing of {OSMIN.} (241) the barbarous nature which showed itself in lust and jealousy, but only the pitiful whining of a slavish soul which trembles before a resolute woman's will. The characterisation of the last movement--when Osmin gives up all appearance of superiority and yields upon every point--is charming, and produced by the simplest musical means. He displays another side of his character in the duet (14) in which Pedrillo induces him to drink.[59] His senses are soon overcome, and he endeavours to outvie Pedrillo. It is of advantage to the situation that the personality of the singers required that even here Osmin must be considered the chief person; one only needs to hear the arrogance with which he delivers the principal subject in order to feel sure on whom the wine will take strongest effect,[60] and even when the rapidly concluded entente cordiale is expressed in unison, Osmin's low-pitched octaves keep the upper hand. But here, too, Mozart keeps within bounds, and never goes beyond a joke; Osmin's drunken sleep is excluded from his representation. Osmin's character is least strongly characterised in the terzet (7), of which Mozart writes to his father as follows (September 26, 1781):--