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[ Eberhard, Neue Verm. Schr. (Halle, 1788), p. 1. N. Bibl. d. Schön Wiss., XXXVII., p. 177. Forkel, Krit. Bibl., III., p. 250. Tagebuch d. Mannheim, Schaub., I., p. 327. Nachtr. zu Sulzer's Theorie., Ill, p. 318. Herder was of opinion that music and declamation met at evety point; they could not unite (Böttiger, Litt. Zust., I., p. 126).]
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[ Reichardt, Kunstmag., I., p. 86. Rintel, Zelter, p. 100. Cf. Huber, Tamira, p. 79.]
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[ A list of melodramas is given by Schletterer, Das Deutsche Singspiel, p.225.]
41 ([return])
[ Reichardt, Geist des Musik. Kunstmag., p. 102. Knigge, Ephemer. f. Theat. u. Litt. (1785, II., p. 100).]
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[ It is particularly to be regretted that the original words for these melodramatic scenes have not been printed. The alterations in Soliman's monologue are not so essential, but Gomaz's monologue is entirely transformed. In the original text he was absorbed by his unpleasant position; when he prays for refreshing slumber, and the music represents his repeated starting up from rest, the altered version puts love-ravings for Zaide into his mouth.]