intent on revenge. For one moment his presence of mind forsakes him and he is at a loss how to extricate himself, but his courage speedily returns, and he boldly and irresistibly makes his way through his enemies.
This momentary dismay and confusion is psychologically correct, and brings an important feature into the situation, which Mozart has effectively seized in his musical characterisation of it. Don Giovanni and Leporello, with the storm of voices surging round them, sing _sotto voce_; and highly characteristic is the submission to Leporello's opinion to which Don Giovanni here condescends. Only with the words "Ma non manca in me corraggio" does he gather his senses together, and strike at once a different key, in which Leporello cannot follow him.[139]
The first act must be allowed to have a well-constructed and interesting plot, but the second consists of situations without cohesion or connection, although capable of being made musically very effective. It wants a leading motive to hold the parts together, the incessant pursuit of Don Giovanni not by any means answering the purpose; the comic tone also degenerates into coarseness:--
Don Giovanni, having appeased the incensed Leporello with money and fair words, confides to him that he is courting Elvira's pretty wait-ing-maid, and changes clothes with him in order to gain easier access to her. This is scarcely accomplished when Elvira appears at the window. In order to get out of the affair with a good grace, Don Giovanni renews his addresses to her with pretended passion, and she is weak enough to give ear to him. Leporello, in his disguise, accepts and answers her protestations of love, until Don Giovanni, making a noisy entrance, drives them both away; then with a tender song he strives to entice the waiting-maid to appear. Masetto then enters armed, with several friends, to call Don Giovanni to account; the supposed Leporello undertakes to put them on the right track, but cleverly contrives to disperse and dismiss them, wheedles Masetto out of his weapons, beats him soundly, and escapes. Masetto's cries bring Zerlina to the spot, and she seeks to console him with loving caresses.
In the meantime Leporello and Elvira have taken refuge in an antechamber; Leporello tries to slip away, while Elvira beseeches him not to leave her alone in the dark. He is on the point of escaping when