Don Giovanni awaits Leporello's arrival at the foot of the monument erected to the Commendatore, and laughingly relates his latest adventure; an invisible voice twice utters words of warning. He becomes aware of the presence of the statue, and makes Leporello read the inscription on it: "I here await the chastisement of my ruthless murderer." In arrogant contempt of Leporello's horror he forces the latter to invite the statue to supper; the statue nodding its head. Don Giovanni calls upon it to answer, and on its distinctly uttering the word "Yes" he hastens away in consternation. Don Ottavio strives anew to console Donna Anna, and at last begs for her hand in marriage: she explains that, though her heart consents to his prayer, her mourning for her father compels her to postpone its fulfilment. This scene gives rise to a suspicion of having been inserted in Prague after the completion of the opera, in order to give the singer a final air. The situation is repeated at the close of the finale, and is not here in accordance with Don Ottavio's previous appearances. Don Giovanni, seated at his richly appointed table, eats and jokes with the greedy Leporello. This scene, which was always made the occasion for broad jesting between master and servant, has been turned by Mozart into musical fun and by-play. Don Giovanni's private musicians play favourite airs from the newest operas. At the first bar Leporello cries "Bravi! 'Cosa Rara!'" It is the last movement of the first finale from Martin's "Cosa Rara": "O quanto un si bel giubilo," which was then in every one's mouth; and the parody was a very happy one. Just as in Martin's opera the discontented lovers are contrasted with the more favoured ones, on whom their mistresses have been bestowed before their eyes, so here the hungry Leporello contrasts with the gormandising Don Giovanni, and the music might have been made for them. The second piece is greeted by Leporello with "Evvivano! 'I Litiganti!'" It is Mingone's favourite air from Sarti's opera, "Fra Due Litiganti il Terzo gode" (Act I., 8), the same on which Mozart had written variations (Vol. II., p. 345), the then familiar words of which-- "Come un agnello, Che va al macello, Andrai belando Per la città"-- {DON GIOVANNI.} (166) were comically appropriate to the snuffling Leporello.[140] The apparent malice which induced Mozart to parody favourite pieces from operas which were avowedly rivals of his own (the impression being immensely heightened by the humorous instrumentation caricaturing arrangements for harmony music), is rendered in some degree excusable by his having included himself in the joke. When the musicians strike up "Non più andrai," Leporello exclaims: "Questa poi la conosco pur troppo!" Thus Mozart expressed his gratitude to the people of Prague for their enthusiastic reception of "Figaro."[141]