[Footnote 133: Eckermann, Gespräche mit Goethe, I., p. 64.] [Footnote 134: The scenic order, for which the books of the words give important data, has been the subject of much recent controversy. Cf. Recensionen, 1859, No. 25. A. von Wolzogen über d. seen. Darstellung von Mozart's "Don Giovanni" (Breslau, 1860). Bitter, Mozart's "Don Juan," p. 62. Sonnleithner, Recensionen, 1865, No. 48. Woerz, Wien. Ztg., 1866, No. 293, &c.] [Footnote 135: Gazzaniga's "Eximena" is wisely omitted.] [Footnote 136: Zerlina owes to Goldoni's "Elisa" a strong tinge of frivolity; and the credulity and inexperience of the peasant maid are not without an alloy of sensuality. She is, however, at the same time endowed with a natural charm that enables Mozart to represent her with full consistency as a very lovable creature.] [Footnote 137: This shows the progress made upon Gazzaniga's work. That which was a mere comic by-play is here used as a motive for giving a common interest to the characters, and leads to the recognition of Don Giovanni, and to the climax of the finale.] [Footnote 138: At Hamburg, members of noble families required that minuets should be played alternately with the country dances, "that they might not be obliged to mix with the crowd" (Meyer, L. Schroder, I., p. 150).] [Footnote 139: Gugler's idea (Morgenbl., 1865, p. 775) that Don Giovanni feigns his alarm, as if saying to his captors, "Your unexpected and unfounded accusations have altogether upset me," has not convinced me.] [Footnote 140: The air is given in the Niederrhein. Mus. Ztg., II., p. 413. Mozart has changed the original key (A major) and somewhat condensed the whole, to its decided advantage.] [Footnote 141: How far superior to the senseless toasts in Righini's and Gazzaniga's versions.] [Footnote 142: O. Gumprecht, Deutsch. Theater-Archiv, 1859, Nos. 2, 3.]