Zerlina's two airs are in vivid contrast to the coarse and boorish, but honest character of her lover. They express neither affection nor tenderness, but rather the consciousness of her own superiority, which her intercourse with Don Giovanni has revealed to her. Hers is one of those easy natures which are volatile without being actually untrue, whose feelings are the children of the passing moment, and whose charm is enhanced by the excitement of the moment. The master has inspired this lovely and graceful form with a breath of warm sentiment, without which she would be cold; and her roguish smile saves her from the reproach of mere sentimentality. The first air (Act I., 12) takes its tone from Zerlina's desire to pacify Masetto; but there is no trace of a need for forgiveness--of the consciousness of an unlawful love; she disarms her lover's wrath with caressing tenderness, and gives him glimpses of bliss which he is far too weak to resist. It would be impossible to conceive a more charming love-making, and no false note of sentimentality mars the graceful picture. The obbligato violoncello lends itself in a singular degree to the individual characterisation, its restless {DON GIOVANNI.} (190) movement and soft low sound standing in happiest contrast to the clear fresh voices; the accompaniment completes what the singer leaves unsaid. It portrays the anxious hesitation in the minds of both the lovers; and not until the second part does the motion flow free and full, till all resentment dies away in gentle murmurings. The second air (Act II., 5), corresponds to a different situation. Masetto has been beaten, and Zerlina tries to console him; if she were to put on an air of sentimental gravity it would appear absurd; the roguish playfulness with which Mozart has endowed the broader merriment indicated by the words is far more appropriate here, and gives the expression of pure and tender grace, which renders this one of the most attractive of songs. The clearness and brightness of the instrumentation compared with that of the first air is very striking. Very different is Don Giovanni's behaviour towards Elvira.