in his
laurels without him. In the midst of their colloquy the Herald's voice
announces that the battle is lost, and that the Queen is coming to the
castle, a fugitive. The old Count descends from his tower to assemble,
his sons and his vassals. Hardly are they ready, when the Queen rides
up to ask for protection. The gate closes behind her and the old Count
does homage, while Hans, still lying idle on his straw, stares at her
beauty with new awakened interest. But the enemy is coming nearer; all
the Count's well-trained soldiers are defeated, and already Harald, the
Danish King peremptorily orders them to surrender. Now Hans {141}
awakes. His effort to break his chain excites the Queen's attention,
who asks the old Count, for what crime the beautiful youth is punished
so severely. The father disowns his son but at this moment the gate
gives way and in rushes Harald, who is met by old Hartung. Alas the
Count's sword breaks in pieces. With the cry, "Now it is worth while
acting" Hans breaks his fetters and brandishing the oaken post to which
he was chained, he fells Harald to the ground with one mighty stroke.
Konrad the valet fetters the giant, and Hans slays every one, who tries
to enter; then rushing out, delivers his brothers and puts the whole
army to flight. Then he returns to the Queen who has witnessed his
deeds with a heart full of deep admiration and swears allegiance.
Heartily thanking him, she only now hears, that the young hero is
Hartung's son, and full of gratitude she offers him one half of her
kingdom. But Hans the Idler does not care for a crown; it is her own
sweet self he wants, and boldly he claims her hand. Persuaded to have
found in him a companion for life as true and loyal as ever lived, she
grants him her heart and kingdom.

IDOMENEUS.

Opera in three acts by W. A. MOZART.

Text by ABBATE GIANBATTISTA VARESCO.

This opera, which Mozart composed in his twenty-fifth year for the
Opera-seria in Munich, was represented in the year 1781, and won
brilliant success.

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It is the most remarkable composition of Mozart's youthful age, and
though he wrote it under Gluck's influence, there is many a spark of
his own original genius, and often he breaks the bonds of conventional
form and rises to heights hitherto unanticipated. The public in
general does not estimate the opera very highly, in consequence
Idomeneus was only represented in Dresden, after the long interval of