breeze, produce a kind of cold shudder in the hearer, were first brought clearly before Mozart's mind during the performance of the ghost scene. In the finale, where they first occur (p. 271), they were wanting in the original score; Mozart inserted them subsequently, and, room being scarce, wrote them in diminutive little notes, which often extend into the following bar; but the second time they occur, and in the overture, they are duly written down. The allegro is exclusively suggestive of the main features of the story; and an eager, irrepressible force, "which is intoxicated with the lust for enjoyment, and in enjoyment pines for lust," penetrates the whole, sometimes in accents of keen pain--[See Page Images] and hot desire, sometimes with exultation and wild delight.[147] The grave cry of warning which interrupts the eager movement--is answered, as if in frivolous mockery, by an easy playful passage--[See Page Images] and then the contrasting elements are worked out with a wealth of harmonious and contrapuntal detail. Mozart is said to have borrowed both the subject and its imitation from {DON GIOVANNI.} (170) a canon by Stölzel.[148] But a glance at the bars which are adduced to prove this--[See page Image] will show what a keen hunt after plagiarism is required to find any borrowed idea in this imitative disposition of parts, common to many old church compositions. But here again Mozart has turned one of the resources of musical construction into a development of a psychological idea. How deeply suggestive it is that the warning cries should be heard woven into the imitations, dying into tender, almost melancholy entreaty, and finally, as the mocker seems determined to treat it all as a jest, rising into an awful call to repentance, sounding again and again with a force that penetrates into the very marrow of one's bones! Again, how truly conceived is the harmonic transition at the close, by means of which this warning motif cuts short with the seventh the jubilation at its very highest pitch, then dies away into gentle notes of remonstrance, and so gradually calms the hearer, and prepares him for what is to follow![149] The opera begins by introducing us to the only really comic character it contains, and thus in a measure fulfils the anticipations excited by the overture. The typical character of the comic servant, which in "Don Juan" had passed through the successive stages of Gracioso, Arlecchino, Sganarelle, Hanswurst, and Kasperle, here attained to perfection as far as opera buffa is concerned. Leporello is a creation unique of its kind; but since in every branch of art gifted minds, however original, draw from a common source, so Leporello, {LEPORELLO.} (171)