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The transformation of Salieri into a tragic villain began with Alexander Pushkin's 1830 Mozart and Salieri, but it reached its zenith in Shaffer's Amadeus . Shaffer uses an elderly Salieri as a narrator who confesses his "crimes" to a silent priest. This framing device—the literal and figurative confessional—allows the audience to peer into the dark, unfiltered psyche of a man warring with God and his own limitations.