boastful loquacity and solemn conceit of the charlatan stand out from the surroundings without the need of any special medium for their expression. Every phrase is pronounced simply but with telling effect; exaggeration, which at this point of the situation would only do harm, is carefully avoided, and the general impression of unclouded gaiety is heightened by the intensity with which the other characters express their feelings.[54] The notary in the second finale is quite as humorously depicted. After an elaborate greeting, the polite elegance of which is mockingly expressed by the figure in the accompaniment, given to the second violins, the notary begins to read the marriage contract in a monotone (_pel naso_, Mozart directs), which is the most comic imitation of reality in its five times repeated phrase--[See Page Image] twice with additional emphasis:--
The accompaniment of the violins is different for each clause (the basses remaining the same), and increases in speed, thus producing a climax provoked by the impatient exclamations of the bridal party. The whole conception of the part of Despina may be referred to the individuality of its first performer, Signora Bussani, whose reputation was
rather for spirit and audacity than for delicacy of expression (Vol. III., p. 97). Another example of perfect gaiety is the terzet for the three male voices (16). After the angry exit of the sisters, Guillelmo and Ferrando begin to laugh,[55] thereby increasing the discomfiture of Don Alfonso, who with difficulty persuades them to desist. The merriment of the young men, the annoyance of the old one, the laughter which they vainly endeavour to suppress, are so admirably expressed, and the triplet passage of the accompaniment adds so strikingly to the effect, that we feel the same irresistible inclination to merriment that is inspired by the countenance of an antique laughing satyr.
The counterpart to Despina is Don Alfonso,[56] who displays throughout the plot no single impulse of sympathy or good-nature, and at the same time fails to inspire interest as a purely comic character. Paltry scepticism without humour or good-temper, cold rationalism without any tinge of geniality, are not attractive in themselves, and are essentially unmusical; they can only be effective by virtue of contrast, and Don Alfonso therefore appears principally in ensembles. In the first male terzet his cool demeanour stands in excellent relief against the excitement of the young men, and Mozart has given an irresistibly droll expression to the little ballad which he mockingly sings to them (2). His sympathy in the parting scene has more delicacy of characterisation; here he keeps in the background, but the quiet remarks which he interposes add just the ingredient to the melting sentiment of the ladies which is required for the production of the right effect on the audience. As a rule, however, Don Alfonso does not express his true sentiments, and his dissimulation induces an exaggeration which is not without comic effect, but requires great refinement of delivery. It belongs to the conception of such a character that he should abstain from asserting himself independently, and therefore