[309] In _Rinaldo_, the air, _Ah crudel il pianto mio_, the first part is a sorrowful _largo_, the second a furious _presto_.--The finest example of this freedom is the air of Timotheus at the beginning of the second act of _Alexander's Feast_. The two parts in this air differ not only by the movements but by the instrumental colouring, by the harmonic character, and by the very essence of the thought; they are two different poems which are joined together, but each being complete in itself. [310] Examples; _Teseo_, Medea's _Moriro, ma vendicata_; _Amadigi_ air, _T'amai quant'il mio cor_. [311] _Riccardo I_, air, _Morte, vieni_. [312] In the airs _da capo_ of _Ariodante_, the second part is restricted to five bars. [313] _L'Allegro ed Penseroso_, 1st air, Part 3, _Come with native lustre shine_; after the 2nd part comes a recitative, then the chorus sings the _Da Capo_.--In _Alexander's Feast_ the air, _He sung Darius, great and good_; after the 2nd part comes a recitative, then the _Da Capo_ with Chorus, but altogether free; to speak truly, the _Da Capo_ is only in the instrumental accompaniment. [314] Handel has found a musical language passing by imperceptible steps from _recitativo secco_, almost spoken, to _recitativo accompagnato_, then to the air. In _Scipione_ (1726) the phrases of the accompanied _recitative_ are enshrined in small frameworks of spoken _recitative_ (see p. 23 of the Complete Handel Edition, the air, _Oh sventurati_). The final air in the first act is a compromise between speech and song. The accompanied _recitative_ runs naturally into the air. [315] In the chain of Recitatives and Airs of all kinds which succeed or mingle themselves with it, with an astonishing freedom reflecting one after another, or even at the same time the contradictory ideas which course through Roland's mind, Handel does not hesitate to use unusual rhythms, as the 5-8 here which gives a stronger impression of the hero's madness.