in short, to all his exigencies, whatever they might be."

A question having arisen some years ago, as to the origin of the
libretto of "Aida," the author of it, M. du Locle, wrote to a Roman
paper that the first idea of the poem belongs to the celebrated
Egyptologist, Mariette Bey. He adds: "I wrote the libretto, scene by
scene, phrase by phrase, in French prose, at Busseto, under the eye of
the maestro, who took a large share in the work. The idea of the
finale of the last act, with its two stages, one above the other,
belongs especially to him."

The libretto for Verdi's last work, "Otello," was prepared by Boïto,
who had previously assisted him in rearranging his "Simon Boccanegra,"
and who also wrote the poem of "La Gioconda" for Ponchielli. Boïto is
a thorough believer in Wagner's doctrine that every composer should
write his own opera books, and he followed this rule in his
interesting opera "Mefistofele."

Mozart was altogether too careless in accepting librettos unworthy of
his genius. Yet occasionally he took the liberty to improve the stuff
that was submitted to him. As the learned librarian, Herr Pohl,
remarks, "In the 'Entführung' it is interesting to observe the
alterations in Bretzner's libretto which Mozart's practical
acquaintance with the stage has dictated, to the author's great
disgust. Indeed, _Osmin_, one of the most original characters, is
entirely his own creation, at Fischer's suggestion."

Weber resembled Wagner, among other things, in the habit of carrying
plans for operas in his head for many years. Thus we read that while
on the look out for a subject for an opera he and Dusch hit upon "Der