In the second act, Elisa and Tamiri come to the camp of Alexander, in order to see their lovers. Tamiri, unable to overcome her fear, withdraws; Elisa seeks in vain to speak to Aminta, Agenore informing her that Aminta is occupied with more important concerns, at the same time that he respectfully reminds Aminta, who is impatient to find Elisa, of his duties as a monarch. At last Alexander appears and receives the grateful homage of Aminta, who expresses most virtuous resolutions for his future rule. On Alexander expressing regret that Tamiri should shun his presence, Agenore takes the opportunity of acquainting Alexander with her near approach. To Agenore's dismay Alexander resolves to unite her with Aminta. With the idea, however, that this will conduce to Tamiri's happiness, Agenore controls his desires, and counsels Aminta to renounce Elisa. Before the unwilling lover is convinced, Tamiri and Elisa enter, and, seeing their lovers stand confused and silent, believe them to be faithless. At the opening of the third act, Aminta, after many scruples, informs Agenore of his determination to fulfil the duty which he believes himself to owe to Alexander. These tidings are carried by Agenore to Elisa, who refuses to doubt Aminta's truth, and will not be persuaded that submission to her fate will best prove her love for Aminta. Agenore's own constancy is put to a severer test when Tamiri vehemently accuses him of having deserted her for Aminta's sake, but he remains firm. Then there appears before Alexander, who is preparing for the celebration of the union, first Tamiri, who declares her love for Agenore, and refuses to break her faith with him, even for the sake of a throne; then Elisa, who tells the claims she has on Aminta's heart; and finally Aminta himself, dressed as a shepherd, returns his crown to Alexander, being unable to renounce Elisa's love. Moved by all this nobleness and devotion, Alexander unites the lovers, reinstates Aminta as King of Sidon, and promises to conquer another realm for Agenore. {"IL RE PASTORE," 1775.} (227) Metastasio wrote this opera in 1751 for performance at court by four maids of honour and a cavalier;[3] he paid due regard to fitting costumes, and to the virtue and nobility of each character.[4] The pains he took at the rehearsals were requited;[5] Bono's music was excellent,[6] the scenery and costumes most brilliant, the noble performers acquitted themselves to perfection, and all was applause and approbation.[7] No wonder that he recommended the piece to Farinelli as a suitable festival opera;[8] it has, in fact, been composed very often since.[9]