selfishness of mankind, had already expressed apprehension lest Weber, now that he no longer required Wolfgang's good offices, should cease to desire his friendship. This was not indeed the case, but he found a great change in Aloysia's sentiments. "She appeared no longer to recognise him for whom she had once wept. So Mozart sat down to the clavier and sang loud: 'Ich lass das Mädel gern, das mich nicht will.'"[9] This renunciation might satisfy his pride, but not his heart; his love was too true and deep to evaporate as lightly as the whim of a woman whose true character he learnt to know later. And yet he wrote from Vienna to his father (May 16, 1781): "I was a fool about Lange's wife, that is certain; but who is not when he is in love? I loved her in very deed, and I feel that she is not yet indifferent to me. A good thing for me that her husband is a jealous fool and never lets her out of his sight, so that I seldom see her!" On January 7, 1779, Mozart was presented to the Electress by Cannabich, and handed her the sonatas he had composed for her; she conversed with him very graciously for a good half-hour. A few days after, he saw Schweitzer's "Alceste," which was the Carnival opera, and at last, after repeated injunctions from his father, he set out for Salzburg in the comfortable carriage of his fellow-traveller, a Salzburg merchant named Gschwendner. FOOTNOTES OF CHAPTER XX. [Footnote 1: Dalberg's papers are preserved in the Royal Library at Munich. Koffka, Iffland u. Dalberg, p. 8.] [Footnote 2: Devrient, Gesch. d. deutsch. Schauspielkunst, III., p. 3.] [Footnote 3: "Cora, a Musical Drama," appeared to a contributor to the Pfalz. "Schaubuhne" unsuited for composition and representation.] [Footnote 4: Gluck's letters in reference to this are printed in the Süddeutschen Musik-zeitung, 1854, p. 174. Dalberg's Correspondenz for 1778 also mentions that Schweitzer was occupied with the composition of "Cora."] [Footnote 5: Brandes affirms that the actors, when not performing, had to pay entrance-money (Selbstbiogr., II., p. 277).] [Footnote 6: It does not appear to have been finished; the autograph of the first 117 bars is in the possession of M. Dubrunfeut, in Paris.]