mood and tone. All present, except Don Giovanni and Leporello, are inspired by one sentiment, and form a compact and solid mass opposing the two, either in unison or by means of a purely harmonious treatment of the voices. Only pit particular points, such as the unmasking, do the different characters stand out, and the imitation by means of which the parts are again united emphasises the impression of strict connection between them. This kind of grouping requires a broad, grand treatment, and a more forcible one both for the voices and the orchestra. Mozart has nevertheless happily avoided the adoption of a tragic tone, which would have been unsuited to the situation. The case is not, after all, too grave to allow of Don Giovanni and Leporello expressing their confusion and dismay comically, after their manner, and the humorous character of the opera is thereby preserved.[184] Still more simple is the construction of the second finale. The introduction of table music taken from different operas renders the supper scene a very masterpiece of musical fun; but the episode has no direct connection with the action.[185] This begins with the entrance of Elvira, with a gravity and an impulse which have been wanting since the beginning of the opera. In opposition to Elvira's glowing passion, to which her higher resolves lend nobler impulse than before, so that even Leporello is carried away by her energy, Don Giovanni's sensuality stands out in stronger relief, until it outrages man's noblest and most sacred feelings; the contradiction develops a depth of pathos {THE SECOND FINALE.} (211)