maiden; and the little duet (Act I., 5) which she sings with her affianced lover amid the joyful acclamations of their friends, expresses innocent gladness in the simplest possible manner and with quite a popular tone.[161] Don Giovanni is the first to arouse sentiments which have hitherto slumbered unsuspected in her bosom. The simple peasant girl becomes an easy prey to the elegant man of the world; her vanity is flattered by his condescension, and his way of expressing the tender emotions excited in him by sensual gratification impresses Zerlina's innocent mind with a conviction of truthfulness, and rouses so irresistible a love towards him that all other considerations are cast into the shade. This is the main idea expressed in the duet (Act I., 6), wherein Don Giovanni makes speedy conquest of Zerlina's heart. The feeling of mutual satisfaction to which they both yield, as it has been preceded by no strife of passions, gives rise to an expression of unalloyed happiness cradled in softest, warmest sunlight. The second part was indeed required to contain more of fire and passion, but the truth of the characterisation has probably suffered thereby. Zerlina's nature is neither deep nor passionate, but light and impressionable; and Don Giovanni's chief weapon is his power of assimilating himself to the woman whom he designs to attract. This point has been made admirable use of by Mozart.[162] Such a broad psychological fact is, however, easy to represent; that which can neither be analysed nor reproduced is the effect of the tender intensity of the simple notes, which penetrate the soul like the glance of a loving eye. At the second interview between the two the state of affairs is considerably modified. Zerlina has been warned by Elvira; she has just calmed Masetto's jealousy with some difficulty, and is aware that he overhears; she seeks, therefore, to repel {DON GIOVANNI.} (188)