The action begins with the entrance of the two ladies. The urgent suit of the lovers is now opposed to the strong displeasure of the sisters, Despina making common cause with the former. The declaration of love is emphasised in an unusual fashion by the transition of the harmony into a minor key,[60] by the chromatic movement of the parts, and by the clarinet, bassoon, and violoncello accompaniment. The astonishment of the two ladies at first gives a painful tone to the expression, but as soon as they have recovered sufficiently to give vent to their indignation the situation changes. The lovers rejoice in silence over this proof of fidelity, while Despina and Don Alfonso affect to find some grounds for suspicion in the very violence of the resentment displayed by the sisters. The grouping of the characters is also changed. Fiordiligi and Dorabella, divided between anger at the intruders and the remembrance of their absent lovers, stand together; on the other side the lovers join issue, and Despina and Don Alfonso observe the course of affairs together; it is with right judgment that the two latter are put prominently forward, especially at the passage--[See Page Image] for they command the situation, and this passage throws a light upon the tumult and confusion which prevail. Mozart's temperate discrimination in the use of means has here again enabled him to mould all this into a musical whole of perfect unity. The situation of the first finale is nearly allied to this, but more vividly characterised in the details, and more elaborately worked out. It begins with a very amorous {THE FIRST FINALE.} (269)